DLive Firmware Reference Guide V1.8

Firmware Reference Guide
V1.8
 This Guide refers to dLive firmware V1.8. Before starting please check
www.allen-heath.com for the latest dLive firmware and documentation.
IMPORTANT - Read before starting
System operating firmware

The function of dLive is determined by the firmware (operating software) that runs it. Firmware is updated
regularly as new features are added and improvements made.
 Check www.allen-heath.com for the latest version of dLive firmware.
Software licence agreement

By using dLive you agree to be bound by the terms of the relevant End User Licence Agreement (EULA),
a copy of which can be found at www.allen-heath.com/legal. You agree to be bound by the terms of the
EULA by installing, copying, or using the software.
Further information
Please refer to the Allen & Heath website for further information, knowledgebase and technical support.
For more information on dLive hardware, system setup and connections please refer to the MixRack and
Surface Getting Started Guides available for download at www.allen-heath.com.
You can also join our Allen & Heath Digital Community to share knowledge and information with other dLive
users.
dLive Firmware Reference Guide

Copyright © 2019 Allen & Heath. All rights reserved.
ALLEN&HEATH
Allen & Heath Limited, Kernick Industrial Estate, Penryn, Cornwall, TR10 9LU, UK
http://www.allen-heath.com
Firmware Reference Guide 2 V1.8

Contents
IMPORTANT - Read before starting ............................................................................................................ 2
System operating firmware .................................................................................................................... 2
Software licence agreement .................................................................................................................. 2
Further information ................................................................................................................................ 2
Contents ....................................................................................................................................................... 3
1. Processing screen ........................................................................................................................... 6
1.1 Harmony UI ............................................................................................................................. 6
1.2 Copy/Paste/Reset, Setup, Listen and Lib keys ....................................................................... 8
1.3 Bank view ................................................................................................................................ 9
1.4 Overview ............................................................................................................................... 11
1.5 Preamp ................................................................................................................................. 13
1.6 Ext In ..................................................................................................................................... 16
1.7 Filter ...................................................................................................................................... 17
1.8 Gate (Ducker)........................................................................................................................ 18
1.9 Inserts and Dyn8 ................................................................................................................... 19
1.10 PEQ ....................................................................................................................................... 21
1.11 GEQ ...................................................................................................................................... 22
1.12 Compressor .......................................................................................................................... 22
1.13 Delay ..................................................................................................................................... 24
2. System screen ............................................................................................................................... 25
2.1 Harmony UI ........................................................................................................................... 25
2.2 Home .................................................................................................................................... 26
2.3 User login .............................................................................................................................. 27
3. Meters ............................................................................................................................................ 28
4. FX .................................................................................................................................................. 30
5. I/O .................................................................................................................................................. 32
5.1 Inputs .................................................................................................................................... 32
5.2 Outputs ................................................................................................................................. 33
5.3 Tie Lines ................................................................................................................................ 34
5.4 Virtual SoundCheck .............................................................................................................. 34
6. Routing .......................................................................................................................................... 36
7. Scenes ........................................................................................................................................... 40
7.1 Scene Manager ..................................................................................................................... 40
7.2 Recall Filters.......................................................................................................................... 42
7.3 Embedded Recall ................................................................................................................. 43
7.4 Update .................................................................................................................................. 44
7.5 Cue List Editor....................................................................................................................... 46
7.6 Scene Import ........................................................................................................................ 47
7.7 Global Scene Safes .............................................................................................................. 48
7.8 Role Filters ............................................................................................................................ 49
8. Ganging ......................................................................................................................................... 50
9. MixRack Setup ............................................................................................................................... 51
9.1 Config / Mixer Config ............................................................................................................ 51
9.2 Config / IP Stereo Config ...................................................................................................... 52
9.3 Config / Name & Colour ........................................................................................................ 53
9.4 Config / Network ................................................................................................................... 54

9.5 Config / User Profiles ............................................................................................................ 55
9.6 Config / RF Devices .............................................................................................................. 56
9.7 Audio / I/O Port ..................................................................................................................... 57
9.8 Audio / Audio Sync ............................................................................................................... 57
9.9 Audio / Source Select ........................................................................................................... 58
9.10 Audio / AMM ......................................................................................................................... 59
9.11 Talkback................................................................................................................................ 63
9.12 Mute Groups ......................................................................................................................... 65
9.13 SigGen .................................................................................................................................. 66
9.14 Controllers / Device Manager................................................................................................ 66
9.15 Controllers / Quick Setup ...................................................................................................... 67
9.16 Controllers / Advanced ......................................................................................................... 69
9.17 Controllers / Simulator .......................................................................................................... 69
10. Surface Setup ................................................................................................................................ 71
10.1 Control / Strip Assign ............................................................................................................ 71
10.2 MIDI Strips ............................................................................................................................ 71
10.3 Control / SoftKeys ................................................................................................................. 73
10.4 Control / Surface Preferences ............................................................................................... 74
10.5 Control / Dimmer................................................................................................................... 75
10.6 Control / DCA/MCA Spills ..................................................................................................... 75
10.7 Audio / PAFL ......................................................................................................................... 77
10.8 Audio / SIP ............................................................................................................................ 78
10.9 Audio / USB Audio ................................................................................................................ 79
10.10 Audio / I/O Port ..................................................................................................................... 80
10.11 Audio / Audio Sync ............................................................................................................... 80
10.12 Audio / Metering Ballistics ..................................................................................................... 80
10.13 Config / Network ................................................................................................................... 82
10.14 Config / Target MixRack ........................................................................................................ 83
10.15 External Screen ..................................................................................................................... 83
10.16 Controllers............................................................................................................................. 83
11. Shows / Utility ................................................................................................................................ 84
11.1 Memory / Show Manager ...................................................................................................... 84
11.2 Memory / Library Manager .................................................................................................... 85
11.3 Utility / History ....................................................................................................................... 86
11.4 Utility / Date/Time .................................................................................................................. 87
11.5 Utility / Calibration ................................................................................................................. 87
11.6 Utility / Firmware ................................................................................................................... 87
11.7 Control / MIDI ........................................................................................................................ 89
12. Appendix A – DEEP Processing and RackExtra FX ....................................................................... 90
12.1 DEEP Processing GEQ models ............................................................................................ 94
12.2 DEEP Processing Compressor models ................................................................................ 91
12.3 DEEP Processing Preamp models........................................................................................ 90
12.4 DEEP Processing AMM......................................................................................................... 96
12.5 RackExtra FX models ............................................................................................................ 98
13. Appendix B – Scene and Show memory content ........................................................................ 115
13.1 Scene memories ................................................................................................................. 115
13.2 Show memories .................................................................................................................. 116
13.3 Settings not stored in Shows .............................................................................................. 116
14. Appendix C – Template Shows .................................................................................................... 117

14.1 FoH ..................................................................................................................................... 117
14.2 Mon ..................................................................................................................................... 117
14.3 Surround ............................................................................................................................. 117
14.4 Multi-Surface FOH/MON ..................................................................................................... 118
15. Appendix D – I/O Module Options ............................................................................................... 119
15.1 ACE ..................................................................................................................................... 119
15.2 AES XLR .............................................................................................................................. 119
15.3 DX Link ................................................................................................................................ 121
15.4 MADI ................................................................................................................................... 122
15.5 superMADI .......................................................................................................................... 123
16. Appendix E – Multi-Surface.......................................................................................................... 125
16.1 Overview ............................................................................................................................. 125
16.2 Example Applications ......................................................................................................... 125
16.3 Network Configuration ........................................................................................................ 125
16.4 Connection.......................................................................................................................... 125
16.5 gigaACE I/O Module Configuration ..................................................................................... 126
16.6 fibreACE I/O Module Configuration ..................................................................................... 126
16.7 PAFL ................................................................................................................................... 126
16.8 Surface I/O .......................................................................................................................... 126
16.9 Shows ................................................................................................................................. 126
16.10 Scenes ................................................................................................................................ 127
16.11 Surface Roles ...................................................................................................................... 127
16.12 Firmware Update ................................................................................................................ 127
16.13 Patching between Surfaces ................................................................................................ 127
16.14 gigaACE I/O Module Channel Mapping .............................................................................. 128
17. Appendix F – MCAs ..................................................................................................................... 129
17.1 Overview ............................................................................................................................. 129
17.2 Adding MCA Members ........................................................................................................ 129
17.3 Enabling MCA Mode ........................................................................................................... 129
17.4 Working in MCA Mode ........................................................................................................ 129
18. Block diagram.............................................................................................................................. 130
19. Processing specs ........................................................................................................................ 131

1. Processing screen
The left screen on the S5000, S7000 and C3500 is dedicated to channel processing. The S3000, C1500
and C2500 incorporate processing into the System screen.
1.1 Harmony UI
dLive integrates the touchscreen with a set of ‘wrap-around’ controls colour-coded for intuitive and quick
operation. Dedicated areas of the screen display values and status of the corresponding controls; some
are configurable or user assignable (widget areas).
3
1 2
4 6
1
Selected channel – Displays the name, colour, type and number of the
currently selected channel. Tap to edit channel name and colour. 7 colours and off
are available.
A name can have up to 8 characters, however only the first 6 characters will be
displayed in the fader strip LCD. To store a name for instant access later on, touch a
‘quick name’ box and touch Store.
2
Active Mix – Displays the name, colour, type and number of the currently
active Mix. If a DCA Spill is active on the Surface, the Mix name is surrounded by a
red square.
 Be aware of which mix is currently active. It is good practice to turn off the Mix
key to return to the main mix once you have finished adjusting a mix.
3
Main screen area – Touch any of the tabs at the top of the screen to open
a specific processing block or page. Alternatively, tap on any of the widget areas
described below to open any associated processing page in the main screen area.
4
Preamp and Filters – Displays the preamp meter and values for the Input
Channel Gain, Trim, HPF and LPF controls. The HPF and LPF graphs are greyed out

when the associated filter is off. The controls are hidden where not available, for
example when a Mix channel or DCA is selected.
You can tap on this area to select the preamp or filters when using the
Copy/Paste/Reset or Listen keys.
5
South Area – User assignable area, typically used for displaying the PEQ
parameters and/or response curve. Press the View key to toggle between the
configured views.
⚙ To configure, hold down the Setup key and touch this area, drag the required
views from the left to the right of the screen, touch these to set any option or
preference, then touch Apply to confirm.
 The South Area configuration is stored in Shows, not in Scene memories.
You can tap on this area to select the PEQ when using the Copy/Paste/Reset or
Listen keys.
The following views are available in this version of firmware:
Individual PEQ Bands – Displays the response of each PEQ band. Frequency and
gain values are temporarily shown when a setting is adjusted.
Multiband PEQ Graph – Full range PEQ view. The individual effect of each band is
shown as fill colours, while the overall response curve is shown as a yellow line.
Frequency and gain values are temporarily shown when a setting is adjusted.
PEQ Values Only – Displays value bars for Gain, Width and Frequency.
Meters – Scrollable meter-bridge widget showing signal level, gain reduction, gate
activity, channel names and colours. Can be set to display Inputs, FX Returns, Mixes,
AMM or any of the 4 User Meter views. The tap-off point for the meters can be chosen
for Input, Mixes and User views. The channel name background is red when the
channel is muted via the channel mute, DCA mute or mute group.
6
Soft Rotaries – Displays the parameters for the assigned controls and
meters or thumbnail graphs where applicable. Press the keys on top of the rotaries,
or swipe within the widget area to toggle between the 3 available layers.
Soft Rotaries can be set to follow channel selection, active Mix or to be locked to a
specific channel. Their assignments and settings are stored in Scene memories.
widgets from the left to the right of the screen, check for any option or preference,
then touch Apply to confirm.

The following widgets are available in this version of firmware:
Gate and Gate Comp

Comp
Signal meter, Signal meter,
Gate with signal graph, gain (pre and
meter, graph, reduction post), graph,
gain reduction meter, gain
meter, sidechain reduction
Threshold and graph, meter,
Depth control; histogram, sidechain
Threshold, graph,
Compressor
Depth, Hold, histogram,
with signal
Attack and Ratio,
meter (pre and
Release Threshold,
post), graph,
control. Gain, Attack
gain reduction
and Release
meter, Ratio,
control.
Threshold and
Gain control.
Send levels FX Scenes

Configurable Controls of 6 Scrollable
widget with up key scene list.
to 6 sends, parameters Touch a
typically for for a chosen Scene to
monitor use or FX unit. select.
FX sends.
The selected
Scene is
highlighted
in yellow.
The Next or
‘Go’ Scene is
highlighted
in green.
1.2 Copy/Paste/Reset, Setup, Listen and Lib keys

The following keys can be used in conjunction with the touchscreen:
Copy – Hold down and touch any highlighted area of the screen to copy the settings of a specific
processing block. A temporary message will appear at the bottom of the screen to confirm the operation.
Paste - Hold down and touch any highlighted area of the screen to paste copied settings. A temporary
message will appear at the bottom of the screen to confirm the operation.
Reset - Hold down and touch any highlighted area of the touchscreen to reset the associated parameters
to factory default. A temporary message will appear at the bottom of the screen to confirm the operation.
⚙ Setup – Hold down and touch any highlighted area of the screen to configure it. For example, touch a
widget area to set up functions, views or controls. Touch on the main screen area to access options further
to those displayed.
Listen – Hold down and touch any highlighted area of the screen to listen to the selected channel at that
point in the signal path. The signal temporarily overwrites the PAFL bus and associated meters. Press the
PAFL Clear key or touch the screen popup to cancel.
Lib – Press to access the Library window for the current page. Libraries let you store and recall presets for
individual processing blocks such as EQ and Compressor, and also for the whole Input or Mix channel.
Input and Mix channel processing Libraries are accessed from their Overview page.

The Library window shows 3 types of Library: Factory, User (stored in the mixer) and USB (stored in the
USB key). Touch to select a Library item and use the buttons to Recall, Overwrite or Delete. Touch Store
New to store a new item and use the keypad to apply a name. Use the Shows/Util / Memory / Library
Manager to organize or transfer your Libraries.
Help – Press to display a contextual help for the current screen.
1.3 Bank view

The Bank view provides an at-a-glance overview of all channels assigned to the active fader Bank and
Layer. It follows both channel selection and Layer selection, so that it always displays the channels you are
working on.
The Bank view can be used with the Copy/Paste/Reset and Listen keys, for example for copying a single
processing block to one or multiple channels. See paragraph 1.2 for details on using these keys.
Input channels – Displays name and colour, source type, preamp meter, gain,
+48V and polarity, gate graph, filters, PEQ graph, compressor graph, Pan and
channel meter. The channel name is framed in orange when Virtual Soundcheck is
active.
1
Tap on a channel to select. The selected channel is highlighted in green.
2
Tap on a processing block within a selected channel to open the associated
page.
3
Pull down the name of a selected Input channel, or swipe down with two fingers
anywhere in the Bank view to display details of the sources such as socket numbers.
Pull / swipe down again to restore the normal view. Use the I/O or Processing /
Preamp screen to patch sources.

4
1
DCAs – Displays name, colour, members (assigned channels) and whether the
‘Fader to Zero dB’ and ‘MCA’ options are enabled. Use the Routing screen or the
Surface Assign keys to assign channels.
1
List of members. Scroll the list up or down if the members are too numerous
to fit in the strip.
2
Tap to enable MCA mode on a DCA. MCA mode can be set globally on all
DCAs in Surface / Control / DCA/MCA Spills
 See Appendix F in this guide for more details on MCA functionality.
3
Tap to enable the DCA Fader to Zero dB mode on a DCA. This forces the DCA
fader to 0dB.
Mix channels – Displays name and colour, Ext Input, meter (pre-processing),
polarity, PEQ graph, compressor graph, and channel meter (post-processing).
4
Pull down the name of a selected Mix channel to display details of the Ext Input
source such as socket number. Pull down the name again to restore the normal view.
Use the I/O or Processing / Ext In screen to patch sources.

1.4 Overview
The Overview page provides an at-a-glance view of all processing for the selected Input or Mix channel.
Touch a section to open the related page.
Press the Lib key while on the Overview page to access the channel Library. Enable the Recall Preamp
option to include Preamp settings when recalling the Library. Channel Libraries do not store routing, levels
or assignments.
1 3
Input channels
1
Preamp – Displays the Preamp source, Gain and Digital Trim. Icons show
48V phantom power and polarity setting.
2
Processing – Thumbnail graphs of Filters, PEQ, Gate and Compressor
complete with sidechain. EQ and filter curves display yellow when switched In and
grey when switched Out. Dynamics display blue when switched In and grey when
switched Out.
3
Insert – Assignment and bypass status are shown for the two Insert points.
4
Delay – Shows the setting for the selected channel.
5
Library – Opens the Input Channel Library.

3
1
2
4
Mix channels
1
Ext In – Displays the External Input source, Gain and Digital Trim. Icons show
48V phantom power and polarity setting.
2
Processing – Thumbnail graphs of PEQ, GEQ and Compressor complete
with sidechain. The PEQ curve and GEQ sliders display yellow when switched In and
grey when switched Out. The compressor graph displays blue when switched In and
grey when switched Out.
3
Insert – Assignment and bypass status are shown.
4
Delay – Shows the setting for the selected channel.
5
Library – Opens the Mix Channel Library.

1.5 Preamp
The Preamp page provides access to the Input Channel source patching and other Input settings.
1
5
2
7
8
4
1
Source Select – Open the drop-down menu to choose which source to
patch to the channel, touch the Socket box then turn the screen Rotary to select the
required socket or number, then touch Apply.
Sources that can be patched include MixRack sockets, Surface sockets, DX Expander
inputs, Mix Busses, PAFL busses, USB stereo playback, I/O Port inputs, the output of
built-in effects (Rack FX), and the Signal Generator.
 When patching from a DT168 or DT164-W expander, preamp controls will appear
when a valid patch is made from a DT socket, via a Dante card, to the input channel.
Ensure the correct patch is made in both Dante Controller and the dLive’s I/O page.
To provide a simple starting point, the Template Show default is one-to-one mapping
of sockets to channels.
2
Socket Preamp – If the patched source is a Mic/Line XLR input then its
Preamp controls are shown. These provide remote control of the input preamp circuit
located at the socket. Pad switches in a 20dB input attenuator, and the combined
Gain + Pad value is shown in the Gain box. Touch and hold the 48V button for 1
second to enable or disable phantom power.
Enable the Scene Recall Safe option to make the Preamp Gain, Pad and 48V settings
safe from Scene Recall. This can be useful when splitting the same mic preamp to two
or more channels.
 Making a channel Safe using the Surface Safe key automatically makes the
associated Preamp safe. Turning off Safe using the surface key unsafes the Preamp.
3
RF Info – If the patched source is associated with an RF Device Channel then
the RF Info box is shown. Channel name, mute status, battery level, RF signal strength
and receiver audio level/peak information is displayed. Touch anywhere in the RF Info
box to open the External Device Channel window.

In addition to the information shown in the RF Info box, channel RF frequency is
displayed as well as several options:
Locate - When enabled, Locate flashes the front panel lights of the selected
channel’s RF receiver until the Locate button is turned off.
Up - Turns up the RF receiver gain on the selected channel in +1dB increments.
Down - Turns down the RF receiver gain on the selected channel in -1dB
increments.
Mute - Toggles the selected channel’s RF receiver Mute status.
Close – Close the External Device Channel window and return to the Preamp page.
4
Stereo Image – If the channel is configured as stereo then the Stereo Image
settings are shown. Mode selects normal stereo input (L/R), reversed stereo input
(R/L), stereo with inverted Left polarity (L –Pol/R), reversed stereo with inverted Right
polarity (R –Pol/L), mono sum (Mono), Left as mono source to both sides (L/L), Right
as mono source to both sides (R/R), Middle/Side decode to stereo (M/S) with the first
input of the pair acting as the MID signal and the second signal of the pair acting as
the SIDE signal. Width adjusts the Stereo Image from 0% (mono) to 100% (stereo).
5
Preamp On Surface – Lets you choose whether the fader strip rotaries
control the Preamp Gain or channel Trim when in Gain mode. Turn on Enable Preamp
on Surface for normal, single console operation. Turn it off to prevent accidental Gain
changes in situations where the same preamp is shared between FoH and Monitor
consoles. When off, the dedicated Preamp rotary control is disabled and a warning
pop-up appears any time the Gain setting is adjusted on screen.
⚙ Hold down Setup and touch anywhere in the Preamp screen to access a global
setting for disabling Preamp on Surface. This affects all channels.
6
Enable ABCD – Turn on Enable ABCD to activate ABCD inputs on the
selected channel.
Select A, B, C or D to enable that source to the selected input channel.

Select ABCD Source Setup to access patching for each of the A,B,C & D inputs on
the selected channel.

Select A, B, C or D to enable that source to the selected input channel.
 Patching to ABCD inputs can also be performed via the I/O screen.
Select Disable ABCD to deactivate ABCD inputs on the selected channel.
⚙ Hold down Setup and touch anywhere in the Preamp screen to access global
settings for enabling and disabling ABCD on Input Channels. This affects all channels.
7
Trim – Trim provides +/- 24dB control in addition to the Preamp Gain or when
the source does not have a preamp (for example inputs from an I/O Port). Trim is part
of the channel, not the preamp, and is therefore useful in situations where the preamp
is shared between FoH and Monitor consoles.
When Gain Tracking is activated, Trim automatically changes to compensate for
preamp gain changes. In Multi-Surface mode, Gain Tracking can be enabled on up
to 4 Surfaces.
⚙ Hold down Setup and touch anywhere in the Preamp screen to define a Gain
Tracking channel range. This allows the operator to quickly enable or disable Gain
Tracking across a range of channels.
A post-Trim signal meter is shown. Polarity toggles normal and reverse.
8
Preamp Model – Displays the DEEP Processing model and controls, if one
is loaded. Press the Lib key to access the preamp Library and load a preamp model
such as a Dual Stage Valve.

1.6 Ext In
You can assign an external input to any Mix channel, for example for bus summing, combining console
outputs, or external communications. In addition to sockets, Mix and PAFL buses can also be selected as
external inputs. The Ext Input sums with the Mix channel pre-insert and is affected by the Mix processing
and fader.
2
1
1
Source Select – Open the drop-down menu to choose which source to
patch to the channel, touch the Socket box then turn the screen Rotary to select the
required socket or number, then touch Apply. Socket Preamp and Trim controls are
shown when an Ext In is assigned.
2
Talkback – Touch to toggle Talkback ON/OFF to the selected Mix channel.
3
SigGen – Touch to toggle SigGen ON/OFF.
The SigGen can be sent to one or both sides of a stereo Mix channel by touching the
left and/or right side of the button.

1.7 Filter
The Filter page provides access to the HPF and LPF filters.
2 3
1
Graph – Touch and drag the HPF (green) or LPF (yellow) dots to adjust the
filter cut-off frequency.
2
HPF – The frequency for the High Pass Filter is adjustable from 20Hz to 2kHz,
and the Slope can be selected from 12dB/octave to 24dB/octave. Two filter types are
available: Butterworth (optimized frequency response) and Bessel (optimized phase
response).
3
LPF – The frequency for the Low Pass Filter is adjustable from 20Hz to 20kHz.
The slope is fixed 12dB/octave.

1.8 Gate (Ducker)
This page provides access to the Input channel Gate settings and sidechain filter.
Press the Lib key to access the Gate Library. This includes the option of a channel Ducker to replace the
Gate.
1 3
1
Side Chain – Touch the Side Chain Source box to open a window for
selecting the Key (trigger) input to the Gate. An adjustable BPF, HPF and LPF filter or
shelf can be switched in to limit the frequency range of the Key signal. The curve turns
yellow when the filter is switched in.
2
Histogram – Shows Gate activity over time.
3
Gate Settings – Touch and drag in the graph or touch a parameter box and
use the screen rotary do adjust.
Threshold sets the level at which the gate opens to let the signal through. The meter
on the left lines up with the graph and shows the signal at the input to the gate. The
gain reduction meter on the right shows when the gate is closed. Depth sets how
much the signal is attenuated when the gate closes. Attack, Hold, Release set how
fast the gate opens when the signal rises above the threshold, how long it is held open
after the signal falls below the threshold, and how long it takes to attenuate after it
closes.

1.9 Inserts and Dyn8
You can insert external equipment, external plugins, one of 64 internal Dyn8 engines, or one of 16 internal
RackExtra FX units into a channel. Input channels provide two Insert points (post Gate and post
PEQ/Comp).
1
Insert Settings – Press In to switch the inserted device in circuit. Choose
the Operating Level of the insert point: Digital sends the signal at 0dB for use with
external digital equipment via AES3 or I/O Ports; Analogue compensates for the
+4dBu nominal level on the XLR outputs, so that the overall gain of the insert circuit
is 0dB; -10dBV is a standard for consumer equipment. Press Unassign to clear the
current Insert assignment.
2
Insert Patch – Use the drop-down menus to assign the Send and Return
to physical sockets, I/O Ports, Dyn8 engines or FX units. Touch the boxes and use the
screen rotary to select socket or number. When assigning Dyn8 engines, the system
automatically selects the next available (unassigned) engine. Touch Apply to confirm.
If an internal RackExtra FX is assigned, the controls for the device are displayed in the
Insert screen for convenience, together with a button to access the FX Library and a
Dry/Wet control to adjust the balance of direct and effect signal.

1
4
Dyn8
Each engine offers 4 bands of multiband compression and 4 bands of dynamic EQ.
1
Select view mode: multiband controls, dynamic EQ controls, or a graphic
overview of both.
2
Per-band bypass controls.
The multiband view has also controls of compression Knee (Hard or Soft), an option
to Link all parameters across bands for quick setup, and a Rel option to link all
parameters whilst keeping the relative offset.
The dynamic EQ view has an option to select the function of the screen rotary (Freq
or Gain) when a band is selected in the graph.
3
Select the External Key Source. Each band can be set to operate with the
selected key source or Self keyed. The key signal frequency range is selectable per
band with Split (key signal frequency range defined by band crossover/width settings)
and Wide (full 20Hz-20kHz bandwidth) options.
Set the desired ballistics mode. There are two manual (Peak, RMS) and four automatic
modes (Punch, Opto, Slow, Fast) for the multiband compressor, with the manual
modes providing per-band Attack and Release time. The dynamic EQ offers two per-
band ballistic modes: Std 9 (standard, smooth frequency conscious release) or Fast
9 (fast release).
4
The multiband graph displays the resulting crossover frequency response.
Shaded fills show dynamic gain reduction. The yellow curve shows makeup gain for
each band, and the blue curve shows maximum potential gain reduction.
The dynamic EQ graph displays the 4-band frequency response, with the shaded fills
showing dynamic activity and the solid outline showing maximum cut/boost for each
band.
Touch and drag the points to adjust frequency values. To avoid accidental changes,
the Gain can only be controlled in Director or by using the screen rotary.
5
Choose the crossover Slope: - 6, 18, or 24 dB/oct. Slope 6 has minimal phase
summing distortion and is typically used for programme mastering. Slope 18 and 24
provide more band isolation and work well for vocal and instrument control.
6
Per-band controls of threshold, gain (multiband), ratio (multiband), width
(dynamic EQ).

The dynamic EQ Gain set in the graph is the maximum amount of compression (cut)
or expansion (boost) for the band when the sidechain signal level is Above or Below
the threshold setting, depending on settings.
1.10 PEQ
The Parametric Equaliser provides 4 fully adjustable bands of equalisation. It can be adjusted using
dedicated rotary controls on the surface or using the touchscreen.
⚙ Hold down Setup and touch the navigation tabs area to access channel options
including the processing order of PEQ and Compressor. The default order is PEQ first,
Compressor next. You can invert the order on a per channel basis or globally.
 The PEQ/Comp order for each channel is stored in Show files. It is not stored in
Scene memories.
⚙ Hold down Setup and touch anywhere in the PEQ screen to access the Global
Input Channels PEQ Options. Enable Width Latch (C Class Surfaces only) changes
the behaviour of the physical Width button on the Surface from momentary to latching.
Fill Curves displays the individual response of the 4 PEQ bands and HPF / LFP filters
with shaded colours. The frequency range for the 4 bands may be set globally for all
Input or Mixes to be limited or Full Range.
1
Graph – Touch and drag the 4 band dots to adjust their centre frequencies.
Touch and drag the HPF / LPF dots to adjust their cut-off frequencies. The overall
frequency response curve turns yellow when the PEQ is switched in and grey when
switched out.
2
PEQ Settings – Frequency sweeps the shelving, centre or cut-off frequency
for each band. Width adjusts the width in octaves of the bell shaped EQ band. Gain
allows up to +/-15dB boost or cut for each band. The LF and HF EQ bands can be
set as shelving, bell shaped or low/high cut 12dB/octave filters.

1.11 GEQ
A 28-band 1/3 octave Graphic Equaliser is provided on each of the Mix outputs. It can be adjusted using
the touchscreen or the Surface faders.
1
Graph – The top part of the screen shows the combined frequency response
curve of the GEQ. The curve turns yellow when the GEQ is switched in and grey when
switched out. An RTA of the PAFL signal with optional peak band indication is also
superimposed on the graph.
 Make sure the PAFL source is related to the selected channel (typically the very
same channel or a separate measurement microphone).
2
GEQ Sliders – Touch a frequency slider to select and drag it up / down or
use the screen rotary to adjust the gain.
3
GEQ Settings – Press GEQ Fader Flip to control the GEQ with the Surface
faders. The fader strips and their displays show the settings of the GEQ frequency
bands, while the right hand fader becomes the master for the selected Mix and the
fader strip meters display the RTA for the currently selected PAFL. Press GEQ Fader
Flip again to toggle between frequency ranges and back to normal mixing. Select
Library to open the Graphic EQ Libraries.
Use the GEQ Type drop-down menu to select one of four DEEP Processing GEQ
models available. These offer different types of cut/boost response.
 See Appendix A in this guide for more details on GEQ models.
1.12 Compressor
This page provides access to the channel Compressor settings and sidechain filter.
⚙ Hold down Setup and touch the navigation tabs area to access channel options
including the processing order of PEQ and Compressor. The default order is PEQ first,
Compressor next. You can invert the order on a per channel basis or globally.
 The PEQ/Comp order for each channel is stored in Show files. It is not stored in
Scene memories.
Several compressor types are available including emulations of classic industry standards. These can be
recalled via Library presets and include the option of a channel Ducker to replace the Compressor. Press
the Surface Lib key to access the available Libraries.
 See Appendix A in this guide for more details on Compressor models.
1
3
2 4
1
Side Chain – Touch the Side Chain Source box to open a window for
selecting the Key (trigger) input to the Gate. An adjustable BPF, HPF and LPF filter or
shelf can be switched in to limit the frequency range of the Key signal. The curve turns
yellow when the filter is switched in.
2
Parallel Path – Lets you balance the dry ‘uncompressed’ signal with the
compressed output. When turned off, only the compressed signal is routed to the
output.
3
Compressor Settings – Touch and drag in the graph or touch a
parameter box and use the screen rotary do adjust.
Threshold sets the level at which the compression starts. The meter on the left lines
up with the graph and shows the signal at the input to the compressor. The gain
reduction meter on the right shows how much the signal is being compressed. Ratio
sets the amount of compression when the signal exceeds the threshold. A ratio of 1:1
means no compression. Set Ratio to ‘Infinity’ to use the compressor as a limiter. Gain
is the make-up gain to compensate for the drop in overall volume after compression.
Soft Knee adds compression gradually with gentler ratio as it approaches the
threshold. Attack and Release control how fast the compressor pulls back the signal
when it exceeds the threshold and how long it takes to let go when the signal drops
below the threshold.
4
Compressor Histogram – Shows Compressor activity over time.

1.13 Delay
The delay settings for all the channels or mixes are shown on this page, with the currently selected channel
highlighted. Use the screen rotary to change its value, or touch another parameter box to adjust the delay
for a different channel. Touch the In buttons to toggle the delay in or out. Input delays can be adjusted up
to 340ms, Mix delays up to 680ms.
⚙ Hold down Setup and touch anywhere in the Delay page to access the unit and
temperature preferences for the Delay. The default unit is ms but can be changed to
metres, feet, or samples. This can be changed globally for the Input channels and for
the Mix channels. Enter the ambient temperature if using distances so that dLive can
compensate for the effect on delay.

2. System screen
The right screen on the S5000, S7000 and C3500 gives access to system settings, FX, meters, routing and
I/O. The S3000, C1500 and C2500 incorporate the Processing screen into this screen.
2.1 Harmony UI
1 2
4 6
1
Selected / Last Recalled Scene – Displays the currently Selected
Scene in yellow, or Last Recalled Scene in blue (see chapter 7.1 for details). The
Selected Scene is highlighted in yellow in the Scene list.
2
Next Scene – Displays the Scene next to be recalled when pressing Go.
3
Main screen area – Press the Screen mode keys to select pages and
menus displayed in this area.
4
Scenes widget – Scrollable scene list. Touch a Scene to select. The
selected Scene is highlighted in yellow. The Next or ‘Go’ Scene is highlighted in green.
5
South Area – User assignable area, typically used for displaying meters.
Press the View key to toggle between the configured views.
views from the left to the right of the screen, touch these to check for any option or
preference, then touch Apply to confirm.
Available views are detailed in paragraph 1.1.

6
Soft Rotaries – Displays the parameters for the assigned controls and
meters or thumbnail graphs where applicable. Press the keys on top of the rotaries,
or swipe within the widget area to toggle between the 3 available layers.
Soft Rotaries can be set to follow channel selection, active Mix or to be locked to a
specific channel.
widgets from the left to the right of the screen, check for any option or preference,
then touch Apply to confirm.
Available widgets are detailed in paragraph 1.1.
2.2 Home
When no screen mode is selected, the System screen displays a Home page with a System Status
dashboard, real time clock and access to User login.
 Press the Surface Home key to come back to this page and present a familiar state
of the Surface controls. Pressing this key will exit from any screen mode or menu,
unselect the currently selected channel, make the Main LR the active Mix, and Layer
A active across all fader banks.
1
3
1
System Status – Displays a list of system components. A green tick
indicates the component is running correctly. A red cross indicates that an error is
detected. A blue icon appears when a non-critical event is logged. Touch the
component to display further information.
2
System Info – Displays firmware version, current User, and the last Scene
and Show recalled.
When a system component is selected in the left column, information on that
component is displayed here, for example status of PSU, cable redundancy, Audio
Sync Lock and the type of I/O modules fitted in a DX32 Expander.
If an error is detected, touch on the ‘An Error Occurred’ message to open the Utility /
History page and display the logs. Contact Support for assistance.
3
Press Switch User to access the User login page.

Press Lock Surface and confirm to lock all Surface controls and touchscreen.
Parameters will not be changed if the Surface controls are moved while locked, for
example when left unattended. Touch the screen again to unlock the Surface.
 If a password is set for the current User, then this must be entered when the User
locks or unlocks the Surface.
Press Power Down and confirm to safely power down the system before you switch
power off. Failures to power down correctly may result in recent parameter changes
being lost or under rare circumstances, possible data corruption.
4
Clock – Shows the time in hours, minutes, seconds. Set using the Utility /
Utility / Date/Time screen.
2.3 User login

The system Administrator can set up to 9 User Profiles to protect settings and restrict access to certain
functions. Touch Switch User on the Home page to log in as a different User.
1
Users list - Shows available Users. These can be configured and enabled
in the MixRack / Config / User Profiles screen. The Admin User is always displayed.
Icons indicate if the User has a password or User Scene set. Touch a User to select
then touch Login to change User.
If a password is set, it needs to be entered using the screen keypad when the User
logs in using this screen, when the system is powered up, or when the User locks or
unlocks the Surface.
2
User Scene – If one is set, it is recalled automatically on login when the
User is changed. It is not recalled when the Surface is unlocked, or when the system
is powered down and up again while the same User is current.

3. Meters
Different tabs give access to meters for all Input channels, all FX Sends and Returns, all Mixes, and up to 4
configurable User views, as well as a Real Time Analyser.
Meters tabs – Channel name and colour is shown below each meter. The channel
name background is red when the channel is muted via the channel mute, DCA mute
or mute group.
A gain reduction meter and gate active indicator are also displayed, these show
activity in red when switched In, and in grey when switched out.
The meter source point can be globally set for all Inputs and all Mixes independently.
This does not affect the fader strip meter on the Surface or any other screen metering.
⚙ Hold down Setup and touch anywhere in the Inputs or Mix meter tab to set the
associated source point. This will affect the Surface LED meters too. Options available
for Inputs are Post Trim, Post Gate/PEQ, Post Compressor, Post Delay. Options
available for Mixes are Post Trim, Post Insert Return, Post PEQ, Post GEQ, Post
Compressor, Post Fader.
⚙ Hold down Setup and touch anywhere in a User tab to configure the User view.
Touch a channel to configure, add spacers or rows as required, and press Apply to
confirm.

RTA – A 1/3 octave Real Time Analyser for the active PAFL signal.
⚙ Hold down Setup and touch anywhere in the RTA page to enable or disable the
Show Peak Band option. When enabled, the RTA displays the dominant frequency
as a red bar or by lighting the red Pk indicator on the related strip meter while in GEQ
Fader Flip mode.

4. FX
The FX screen gives access to the 16 virtual RackExtra FX engines.
2
5
1
FX bar – The 16 slots are shown across the top of the screen either empty or
with FX devices loaded. The FX name, current Library preset and metering is shown
next to each icon. Scroll left to right to view all the FX slots. Touch a device or empty
slot to select.
2
Library – Press the Library button or Lib key on the Surface to access the
FX Library. The Libraries are grouped by FX type. You can choose to load one of many
Factory presets, or to recall a previously stored User preset from the Show or directly
from your USB key. Touch to select a preset and touch Recall to load. Touch Store
New to store the current FX settings as a User preset. Touch Overwrite to update an
existing preset with current settings.
 See Appendix A in this guide for more details on FX models.
3
Switch between the Front Panel and Back Panel view.
Tap on the Global Tap Tempo box or touch and use the screen rotary to set the
global rate for any delay FX locked to Global Tap Tempo. The current rate is shown.
The Tap Tempo can be assigned to a SoftKey using the Surface / Control / SoftKeys
screen.
4
Front Panel – All key FX controls are presented here. Switch to the Back
Panel to access routing settings.
5
Meters at the input and output of the currently selected FX are shown. If the FX
is inserted on a channel, the In switch and Dry/Wet level controls are shown. If the FX
is configured as a Mix->Return, then PAFL, Mute, and fader level are displayed for
both the send and return. Each FX Return has a 4-band parametric equaliser.

Touch the PEQ switch to open the PEQ window.
 The FX Front Panel, Library button and PEQ can also be accessed by the
Processing Screen when an FX Send or Return is selected, or by the Processing Insert
page when a channel with inserted FX is selected.
Back Panel – Use this view to edit the routing for the selected FX. Use the drop-
down box to choose between Unassigned, Insert or Mix->Return.
Insert breaks a channel signal path at its Insert point to route it to the FX and back
into the channel. Select the channel and press Apply to confirm. Some FX devices
allow a Dual Mono mode to insert the FX into two separate mono channels.
Mix->Return patches the FX device as a system effect with a Send bus and a
dedicated stereo FX Return channel. Select the bus you want the FX to use and press
Apply to confirm. The source patch defaults to the corresponding FX Send bus if
available in the current bus configuration. The output patch defaults to the dedicated
stereo FX Return channel. You can reassign an FX output to a different Input channel
using the Processing / Preamp screen of such channel.

5. I/O
Use this screen to patch inputs and outputs from / to analogue sockets, I/O Ports, DX and DT Expanders,
USB, or to the ME monitor port. The patch is presented as a matrix view with solid cross-points indicating
an active connection. Striped cross-points indicate an invalid connection, for example when the output is
not available in the current system configuration.
⚙ Hold down Setup and touch anywhere in the I/O screen to access the following
preferences:
Confirm when reassigning opens a confirmation pop-up whenever a patch is being
changed.
Only patch when the Patch button is pressed requires a two fingers operation to
prevent accidental changes to the patch. Hold down the screen Patch button (Shift
key in Director) and touch a cross-point to patch when this option is enabled. Hold
down and draw a line on the matrix to quickly patch sources to destinations 1:1.
Use full screen takes advantage of the full touchscreen size when operating the I/O
screen.
Allow multiple tabs displays multiple items at the same time in the matrix view.
5.1 Inputs
Patch sources (displayed on top) to Input channels or to the Ext In of Mix channels (displayed on the left).
1 3
1
Navigation tabs – Touch on an item to present its associated sources or
channels to the matrix view.
2
Destinations – Input and Mix channel names and colours are displayed. A
green tick appears when any source is assigned to the channel. Touch a channel
name or number to edit its name and colour.
3
Zoom – Use the two buttons provided or a two-fingers pinch in the screen
area to zoom in and out. Low levels of zoom provide a good overview of the I/O patch
but disable cross-point operation to prevent accidental changes.

4
Sources – The source number is greyed out if already patched, highlighted
in red if +48V is detected at the socket, or striped when the input is not available in
the current system configuration.
Touch on a socket number to open a window with a list of current assignments and
available controls for the socket, for example gain, +48V and Pad for a preamp, or
SRC options for a digital input.
 When patching from a DT168 or DT164-W expander, preamp controls will appear
when a valid patch is made from a DT socket, via a Dante card, to the input channel.
Ensure the correct patch is made in both Dante Controller and the dLive’s I/O page.
 Sample Rate Conversion can be bypassed for any stereo digital Input on a dLive
Surface or DX32.
5
Matrix view – With low levels of zoom, touch on an area of the matrix to
zoom in. With higher levels of zoom, touch on a cross-point to patch a source (Patch
button disabled). A confirmation popup will appear if the Confirm when reassigning
option is enabled. Touch on an active cross-point to unassign.
5.2 Outputs
Patch Mixes, Direct Outs, RackExtra FX or PAFL (displayed on the left) to outputs (displayed on top).
1
Sources – Channel names and colours are displayed. Touch a channel
name or number to edit its name and colour.
2
Destinations – The output number is greyed out if already in use, or striped
when the output is not available in the current system configuration.
Touch on a socket number to open a window with a list of current assignments and
available controls for the socket.

For example, touch on a DX32 digital output to access its Polarity and Sample Rate
settings.
Touch on a ME output to access the Stereo Link option. When Stereo Linked,
outputs to the Allen & Heath Personal Monitoring System will be recognised as a
stereo pair and assigned to a single key on the ME-1 mixer.
5.3 Tie Lines

Use this page to patch any source (displayed on the left) directly to one or multiple destinations (displayed
on top), without impacting on mix resources or bus configuration.
Digital Split using Tie Lines – In a digital split system (for example FoH and
Monitors), it is typical to use the Tie Lines to send the Local inputs from the Master
MixRack to an I/O Port and over to the Slave system, as pictured above. This method
(as opposed to using channel Direct Outs) splits the signals straight after the preamp
so they are unaffected by Digital Trim or Direct Out Source on the Master system.
5.4 Virtual SoundCheck

Use this page to configure and enable Virtual SoundCheck. The Record Send and Virtual SoundCheck
modes are independent of Scene memories. This means you can patch analogue I/O, inserts and FX whilst
in Virtual SoundCheck, with the peace of mind that these changes will stay in place when you exit Virtual
SoundCheck. It also means that you can recall and store Scenes whilst in Virtual SoundCheck without the
need to use Safes or Recall Filters.

1 3
1
I/O Port – Select the I/O Port to use with Virtual SoundCheck.
2
Matrix View – Patch the channels to the I/O Port. It is typical to leave this
patch to 1:1 so that Inputs are straight from/to the same numbered I/O Port channel.
3
Range – You can limit the range of I/O Port channels dedicated to Virtual
SoundCheck. This can be useful if the same I/O Port is used for other applications at
the same time, for example for plugin processing or audio distribution. The range
selection is locked when in Record Send or Virtual SoundCheck mode.
4
Inactive disables Virtual SoundCheck. The normal I/O patch is in use.
Record Send sends the pre-trim audio from the Input Channels to the I/O Port for
multitrack recording purposes. This will temporarily override the normal output patch
to the selected I/O Port, if different.
 The source point is always pre-trim (it doesn’t follow the Input Direct Out source
setting). For multitrack recording applications other than Virtual SoundCheck, where
the recording of the processed channel is required, go to I/O / Outputs and patch
Input Direct Outs instead.
Virtual SoundCheck sends audio from the I/O Port to the Input Channels in place
of the live inputs, temporarily overriding the normal input patch.
5
Virtual SoundCheck Active – A message is displayed on screen to
remind the user that Virtual SoundCheck is active. Touch the orange box in any other
screen to go back to this screen.
A Virtual SoundCheck button will also appear in the Processing / Preamp screen.
This allows you to disable Virtual SoundCheck on individual channels, for example to
run a live mic alongside the recorded tracks.

6. Routing
The Routing screen lets you view and adjust sends, routing and assignments for the currently selected
channel. It offers an alternative to using the dLive fader strips, Mix keys and Assign / Pre keys.
 For more information on using the fader strips on the Surface please refer to the
dLive Surface Getting Started Guide available for download at www.allen-heath.com.
Input channels – Displays routing, assignments and Direct Out controls.

1
Sends are shown as a purple bar if post-fade, as a green bar if pre-fade. The
bar is filled in if the channel is assigned to the Mix, the outline only is shown otherwise.
Group assignments are shown as a purple dot.
2
Touch the drop-down menu to select the Global Direct Output Source. This
setting affects all channel Direct Outputs and can be set to Post Preamp, Post LPF,
Post Gate, Post Insert A Return, Post PEQ, Post Compressor, Post Insert B Return,
Post Delay.
⚙ Hold down Setup and touch anywhere in the Routing screen to access further
options for the Direct Out including Follow Fader, Follow Mute and Follow All
(DCA/Mutes, Ch Fader/Mute)
3
Scroll in this area or scroll / touch anywhere in the overview area to navigate
the controls. Touch On/Off to toggle the channel assignment to the Main Mix, FX
send, Aux, or Group. Touch Pre/Post to switch the FX or Aux send pre-fade or post-
fade. Touch on a rotary control and use the screen rotary to adjust the send level or
channel level to the Main mix. Touch on a Pan control and use the screen rotary to
adjust the send Pan (stereo sends and Main mix only).
When in 5.1 Main mode, a surround panning icon is displayed instead of the Main
assignment. Touch the widget to access surround panning and LFE level (see below).
4
DCA & Mute Group assignments – Touch the On/Off buttons to
toggle the channel assignment to the associated DCA or Mute Group.
5
Direct Out – Touch the control and use the screen rotary to adjust the Direct
Out level. The current source point for the Direct Out is displayed in addition to
whether the Direct Out is configured to follow DCA or Channel Faders and Mutes.

Touch the text area to open the Direct Out options including Follow Fader, Follow
Mute and Follow All (DCA/Mutes, Ch Fader/Mute)
1
4
5
3
Surround panning – Access to 5.1 image, options and LFE level.

1
Panning mode – Touch the drop-down menu to select the panning mode
for the selected channel with regards to the front triplet.
LR – The Pan control will affect the stereo image to L and R. No signal will be sent to
C.
LCR – Each channel can be panned from left, through centre to right. At mid pan, full
signal is fed to C and none to L and R. Stereo Inputs and FX Returns will be hard
panned to LR.
LCR+ – The Pan control will affect the stereo image while the Divergence control will
determine the amount of signal to C vs LR.
2
Level – This is the Main channel level.
3
5.0 Panning – Drag the red pointer to position the channel at any point in
the 5.0 image.
4
Divergence – When the Panning Mode is set to LCR+, this control
determines the amount of signal to C vs LR, given a fixed stereo image. For example,
at mid pan and with the control fully clockwise (full Divergence), no signal is fed to C
and the stereo image relies on LR only (the so called ‘phantom centre’). At mid pan
and with the control fully anti-clockwise (no Divergence), the signal is sent to C only.
5
LFE and Non-LFE levels – Use the LFE level to control the amount of
signal sent to the Main LFE channel. Use the Non-LFE level to control the amount of
signal sent to the Main 5.0 mix. This is always open by default but can be attenuated
up to –inf for example for use with special LFE-only effects.

1
Aux, Matrix and FX sends – Displays routing and assignments of Input

channels, FX Returns and Groups to the selected Mix.
1
Mix Source – The point within the channel signal path that feeds the
selected Mix is set globally for each Mix using this drop-down menu. It can be set to
Post Preamp, Post Insert A Return, Post PEQ, or Post Delay.
2
Sends overview – Sends from Inputs, FX Returns and Groups are shown
as a purple bar if post-fade, as a green bar if pre-fade. The bar is filled in if the channel
is assigned to the Mix, the outline only is shown otherwise. Use the tabs on top to
display Inputs, FX Returns or Groups.
3
Routing controls – Scroll in this area or touch in the overview area to
navigate the controls. Touch On/Off to toggle the channel assignment to the Mix.
Touch Pre/Post to switch the channel send pre-fade or post-fade. Touch on a rotary
control and use the screen rotary to adjust the channel send level. Touch on a Pan
control and use the screen rotary to adjust the channel send Pan (stereo sends only).
4
Follow Main Pan – Touch this button to open the Follow Main Pan Settings

1
Follow / Invert – Each stereo mix can have its own settings. When Follow
is enabled, any changes to channel pans to the Mains (i.e. LR) will be followed by the
send pans. When Invert is enabled, channel Main pans will be inverted to the stereo
mix. If Follow and Invert are both enabled then channel Main pan settings will be
followed and inverted to the stereo mix. Touch Apply to confirm changes or Discard
to cancel changes.
2
Set All – Quickly enable or disable Follow and/or Invert on all stereo mixes.
Touch Apply to confirm changes or Discard to cancel changes.
DCA and Groups – Displays channel assignments to the DCA or Group. Touch
On/Off to toggle the channel assignment to the DCA or Group. For DCAs, use the
tabs on top to display different channel types.
⚙ Hold down Setup and touch anywhere in the Routing screen to access the DCA
fader to 0dB option. This forces the DCA level at 0dB.

7. Scenes
Use this screen to work with the dLive Scene memories. Up to 500 Scenes may be stored, and one or more
Cue Lists can be created from the Scenes. Global Scene Safes and per Scene Recall Filters can be set to
block certain parameters from recall.
7.1 Scene Manager

Gives access to the Scene list for editing or recalling.
1
Scene list – Choose to display the list of all 500 Scenes or the Current Cue
List. The Scene highlighted in yellow is the currently selected Scene, and is displayed
in the top left corner of the System screen. The Scene highlighted in green is the Next
or ‘Go’ Scene, and is displayed in the top right corner of the System screen.
Swipe up/down or use the screen rotary to scroll, and touch in the list to select a
Scene. Both the yellow and green indicators will move to confirm the selection. Note
that the Next (green) Scene can be selected independently from the Current Scene
using the Surface Prev and Next keys.
Icons in the Scene list indicate the following:
A Scene is stored in this memory location.
This is the last recalled Scene, and is also displayed in the Home screen.
Embedded Recall is set for this Scene.
A Crossfade Time is set for this Scene.
Recall Filters are set for this Scene.
The Scene is locked.

 When more than one Surface or Director instance is connected to the system and
Surface Roles are in use, the yellow scene selector and last recalled scene icon are
Surface/Director specific.
2
Name Touch the Name box to open the keypad and type in a name up to 14
characters long for the currently selected Scene. Touch the Description box to enter
a note about the Scene.

3
Crossfade Time Touch the Crossfade Time and use the screen rotary to
set a crossfade time up to 20 seconds for the currently selected Scene. This time sets
how long it takes for levels and pan to change from their current settings to the settings
of the Scene being recalled. Crossfades affect Input faders and Pan, Mix faders, DCA
faders, send levels and Pan.
When a scene with a Crossfade Time is recalled, the scene name will show a progress
bar for the duration of the crossfade.
 Crossfades affect the audio levels, however the faders on the Surface will move
instantly to their new position. Manually moving a fader during a crossfade will
overwrite the crossfade for the associated channel.
4
Recall – Touch Go or press the Surface Go key to recall the Next (green)
Scene. This overwrites current settings with those stored in the Scene being recalled.
Touch Undo Go or hold down the Reset key and press the Go key on the Surface to
restore the settings prior to a Scene recall.
 In a Multi-Surface system, Undo Go is Surface specific
5
Modify – All these functions affect the currently selected (yellow) Scene.
Touch Store or press the Surface Store key to store current parameters to the Scene.
To undo a Store Scene, press and hold the Surface Reset button and the Surface or
TouchScreen Store button simultaneously.
 Store Scene Undo will undo the last store on the Surface or Director session it is
triggered from. It will not undo a Store Scene made by another Surface/Director
session.
Press the Surface New key to store current parameters to the next available (empty)
memory location.
You can update only a selection of parameters to the current Scene or a range of
Scenes. Touch Update to open the Update Scene Range window (see below).
Touch Delete to clear the name, content and Recall Filter of the Scene.
Touch Recall Filter to view and edit the Recall Filter settings for the Scene (see
below).
Touch the Lock button to lock the Scene from any edit thus preventing accidental
changes.
Touch Copy Filter To… to copy the current recall filter settings to either a single
scene, a range of scenes or all scenes.
You can automate the recall of one or more other Scenes from the same or a different
unit when you recall a Scene. Touch Embedded Recall to open the Embedded Recall
settings for the Scene (see below).
Custom MIDI strings can be broadcast over TCP/IP when recalling Scenes. Touch
Custom MIDI to enter the MIDI string in hexadecimal format. A custom MIDI string
associated with a Scene is sent on recall in addition to the standard MIDI string as
defined in the dLive MIDI TCP/IP Protocol document.
6
Touch Copy to copy the content and Recall Filter of the currently selected
(yellow) Scene. Touch the Scene you wish to copy to and touch the Paste button to
paste. Scene names and descriptions are not copied.
⚙ Hold down Setup and touch anywhere in the Scene Manager screen to access
several Scene management preferences:
Scene Overwrite Confirmation displays a confirmation pop-up on Scene Store and
when using the Scene Manager page. A confirmation pop-up is always displayed on
Scene Delete.

Scene Recall Confirmation displays a confirmation pop-up on Scene Recall when
using the Scene Manager page. A confirmation pop-up is always displayed on Scene
Delete.
Display Last Recalled displays the Last Recalled Scene in blue in the top left corner
of the screen, instead of the currently Selected Scene.
Disable Surface Controls locks the Scene area of controls on the dLive Surface, to
prevent accidental operation.f
Auto Store automatically stores current settings to the last recalled Scene whenever
a Scene is recalled. It is typically used during soundcheck to save all changes to a
Scene before recalling a different one.
 Auto Store affects the last recalled Scene as displayed in the Home screen, this is
not necessarily the currently selected (yellow) Scene.
 In a Multi-Surface system, Auto Store is Surface specific
Track Embedded moves the Current (yellow) pointer to the last recalled Scene when
Embedded Recalls are set.
Auto Increment moves the Next (green) pointer to the next available Scene in the list
whenever a Scene is recalled, so that the Next Scene is always the Current Scene +
1. It allows recalling multiple sequential Scenes quickly with a single button press.
Go on Touch lets you recall a Scene simply by touching its location in the Scene list
and Scene widget. The currently selected Scene is highlighted in orange in this mode.
 No confirmation pop-up is displayed when Go on Touch is active. Only use this
option if really required.
7.2 Recall Filters

A Recall Filter prevents certain channels or parameters being overwritten by the Scene recall. It
only affects the Scene it is associated with.
Use the tabs on the left to view the different parameter groups. Pinch/unpinch to zoom
in and out of the matrix view. Swipe up/down or left/right to navigate through the
matrix. Touch an item to toggle. Allowed items will be recalled, Blocked items will not.
Touch a parameter label on top of the table to toggle one parameter for all channels.
Touch a channel label on left to toggle all parameters for one channel. Touch All to
toggle all items in the current tab, or touch Block All or Allow All to affect all items in
all tabs.
 Scene recall filters can be copied and pasted from the Scene Manager window –
see Section 7.1 for details

7.3 Embedded Recall
You can automate the recall of one or more other Scenes from the same or a different unit when
you recall a Scene. A delay time can be set for each embedded Scene within the host Scene.
Select the target unit or system from the Unit Name drop-down. All compatible Allen
& Heath units found on the dLive network are listed here. Select ‘My dLive’ to automate
Scenes on the local system.
Set the Scene Number to select the Scene you wish to embed. Its name is displayed
below the box. Set the Delay time for the embedded Scene recall. This is the time the
system waits before recalling the Scene after you have recalled the host Scene. Time
can be set from 0 sec (instant) to 4 minutes. Touch Add to add the Scene to the list
on the right.
The list shows the embedded Scenes together with associated units and delay times.
Select one and touch Remove to remove from the list.

7.4 Update
Update parameters in one or multiple scenes.
1 2
1
Scene List – Touch to select the Scene(s) to be included in the update. Any
number and combination of Scenes can be selected from this list.
A Scene is stored in this memory location.
This scene will be included in the update – touch to toggle.
2
Select Scenes – Quick options to select All, None or a Range of scenes.
3
Scope – Select one of the following options:
Manual – Touch to open the Update Scope matrix and manually select which
parameters to include in the update.

matrix. Touch an item to toggle. Items highlighted in green will be updated, all other
items will be ignored. Touch the + and – symbols to show and hide nested
parameters.
Touch a channel label on left to toggle all parameters for one channel. Touch Update
All to select all items, or touch Update None to deselect all items.
Auto Tracking – This option tracks all parameter changes made by the user. After
making the desired changes to parameters you can Apply these changes to the
selected scene(s).
This pop-up indicates the system is in Auto Tracking

mode and parameter changes are being recorded. Touch
the pop-up at any time to return to the Update page and
Apply or Cancel the changes
4
Mode – Select the update mode:
Absolute - Overwrites the target parameters in the selected scene(s) with the current
values.
Use Absolute mode to change a parameter in multiple scenes to a fixed value
Example: Change IP1 fader level to 0dB in all scenes.
Relative - Changes to level parameters (Gain/Fader/Send/Master) are applied
relatively to the selected parameters in the target scene(s).
Use Relative mode to change a parameter in multiple scenes by a fixed value
Example: Increase IP1 fader level by +3dB in all scenes.
 Non-level parameter changes in Relative mode will be applied Absolutely to the
target scene(s).
 When performing a Manual-Relative update, only parameters that have changed
since the last scene recall will be applied to the target scene(s).
5
Update – Select Apply to update the selected parameter(s) in the target
Scene(s). Press Cancel to discard the update.

7.5 Cue List Editor
A Cue List is a custom list of Scenes selected from the list of available Scenes. Cue Lists can be named,
saved, recalled and deleted.
1
Current Cue List – Drag and drop Scenes here to create a Cue List.
Scenes can be placed in any order and repeated any number of times in the list. To
remove a Scene from the Cue List, touch the trash can icon to the right of the Scene
name.
2
Touch Save to name and store the current Cue List. Touch Load to select and
open a previously saved Cue List. Touch Clear Current and confirm to remove all
Scenes from the current Cue List.
Touch Move Up or Move Down to move the selected Scene in the current Cue List.
Touch Overwrite and confirm to update a saved list with the current Cue List. Touch
Manage to open a list of saved Cue Lists and delete one or more.

7.6 Scene Import
Scene Import allows the user to import one or more Scenes from an existing Show into the
current Show. This might be useful for example in festival situations where Scenes from a guest
engineer’s Show are imported into the current Show - without any audio interruption - and then
filtered as required.
1
Local Scenes – A list of scenes in the currently loaded Show. Swipe to
scroll through the list.
2
Select Show – Touch to select the Show that contains the scene(s) you
wish to import.
Click on the dropdown menu to toggle between Show

locations – USB or User.
3
Selected Show – A list of scenes in the show you wish to import from. Drag
and drop scenes from this column into the Local Scenes column to import them into
your show.

7.7 Global Scene Safes
Scene Safes prevent certain channels or parameters being overwritten by a Scene recall. Contrary to the
Recall Filters, this setting is global, affecting ANY Scene recall. It is typical for certain settings such as
SoftKeys assignments to be made Safe so their settings are global within the Show.
6 5
Pinch/unpinch to zoom in and out of the matrix view. Swipe up/down or left/right to
navigate through the table. Touch an item to toggle its state.
Safe items (highlighted in blue) will not be recalled.
1
Use the tabs on the left to view the different parameter groups.
2
Touch the + and – symbols to show and hide nested parameters.
3
Touch a channel label on left to toggle all parameters for one channel.
4
Touch a parameter label on top of the table to toggle one parameter for all
channels.
5
Touch All to toggle all items in the current tab,
6
Safe All or Safe None to affect all items in all tabs.
A blue dot lights in a screen tab when one or more items have been safed in that tab.

7.8 Role Filters
A Role Filter prevents certain channels or parameters being overwritten by any Scene recall. It only affects
the Role it is associated with, so that channels, mixes, FX and other settings used by another engineer are
not affected by Scene recall on the local Surface. It is typical to set opposite Role Filters on two Surfaces in
Multi-Surface mode. For example, if Inputs 1-64 are used at FoH, they would be blocked on the Role Filters
for the Monitor Surface, and Inputs 65-128 would be blocked by the Role Filters on the FoH Surface. The
same would apply to all other settings. See the Multi-Surface FOH/MON template show for an example of
this configuration.
 See section 10.4 Surface Preferences for information on creating Roles
matrix. Touch an item to toggle. Allowed items will be recalled, Blocked items will not.
Touch a channel label on left to toggle all parameters for one channel. Touch All to
toggle all items in the current tab, or touch Block All or Allow All to affect all items in
all tabs.
 Note that multiple Surfaces and Director instances on the same MixRack will
always share the MixRack settings, including processing and mixing. In a Multi-
Surface setup, make sure the Role Filters are set such that settings are split between
the Surfaces. This avoids accidental recall of settings affecting channels or mixes
operated by the remote Surface(s).

8. Ganging
Use this screen to create and edit up to 16 Gang groups. A Gang links all or a selection of processing and
routing parameters for two or more channels or mixes of the same type. The channels or mixes in a Gang
are known as ‘Members’. The parameters are known as ‘Attributes’.
Ganging provides absolute, not relative control.
 Gang settings follow Scene automation. You can ‘safe’ Gang settings from being
overwritten using the Scenes / Global Scene Safes page.
1
Touch one of the 16 Gang tabs at the top of the screen to create or edit a Gang
group. A Gang with channels already assigned highlights yellow.
2
Members – Select either the Input (Ip) or Mix tab. Touch the channels you
wish to gang or ungang. A channel or Mix can only belong to one Gang.
3
Attributes – Touch the parameters you wish to link. Adding the Routing
attribute links the sends and assignments from the ganged channels. Touch Apply to
confirm the changes.
 Preamp Gain cannot be ganged. You can set Gain controls to a nominal level, then
gang the Trim controls and use to make input level adjustments while mixing.
Alternatively, configure a Stereo Input in MixRack / Config / IP Stereo Config to
permanently link two Input channels and their preamps within the current Show.

9. MixRack Setup
These pages give access to the mixer bus configuration, Input stereo configuration, network settings, audio
settings and User Profiles.
9.1 Config / Mixer Config

Use this page to reconfigure the architecture of the 64 Mix busses available.
1 4
1
Bus configuration – Touch a box and use the screen rotary to set the
number of mono / stereo Groups, FX sends, Aux sends and Matrix outputs. You can
choose any combination, but note that mono busses can only be added / removed in
pairs.
2
PAFL – Touch and use the screen rotary to set the number of stereo PAFL
busses. Set to 1 for a typical standalone system. Extra PAFL busses can be useful
when multiple operators are sharing the same dLive system. For example, an engineer
mixing FoH on the Surface, and a second engineer mixing Monitors on a laptop or
additional Surface.
3
Main – Select one of 5 modes of Main mix:
None - No Main mix, for example dedicated monitor mixing with a large number of
Aux mixes.
LR - Standard stereo Main mix.
LR+Msum - A stereo Main mix with additional output which is the mono sum of the
pre-fade, pre-processed LR mix. For example to feed a mono delay speaker or zone.
LR+M - A 3-way main mix with independent stereo LR and mono M busses. Channels
can be separately assigned to any combination of LR and M. Typical application for
M is main centre speaker, mono PA or bus-fed sub bass.
LCR – A 3-way main mix with LCR panning. Each channel can be panned from left,
through centre to right. At mid pan, full signal is fed to M and none to L and R. Stereo
channels feed the LR mix only.
5.1 Surround – Multichannel 5.1 output. Each channel can be set to LR, LCR or LCR+
panning with regards to the front triplet. When in this mode, an on-screen surround
panning widget is displayed in the Routing screen.
4
Displays the number of busses and FX sends remaining and warns if you
exceed the maximum.

5
Main Fader Strips – The Main LR mix can be presented on the Surface as
a single, Combined fader strip or as two Individual fader strips. When ganged, all
processing for LR including delays is linked. A Balance control is provided to adjust
the relative Left and Right level. The option will also affect the Main surround channels
sL and sR.
Press Apply to confirm the changes. All current settings other than the bus
configuration will stay in place.
 Mix Config reassigns the bus architecture and resets mix parameters. These
changes if needed should be done before, not during a show.
9.2 Config / IP Stereo Config

Displays the current mono/stereo configuration of the 128 Input channels. Stereo channels are highlighted
in green. Touch the buttons to change the configuration and press Apply to confirm. Stereo channels use
a single fader strip and all their processing controls are linked.
 This is intended for permanently configuring channels as stereo inputs, for

example music players. Use the Ganging screen for on-the-fly linking of stereo
sources while mixing live.

9.3 Config / Name & Colour
Use this page to change or reset the name and colour of a range of channels. Name and colour for
individual channels can be edited from the Processing Screen.
2
3
1
Channel Selection - Set the channel Type from the drop-down menu.
Touch Select All or set the Start and End to select a range of channels.
2
Name – Press Reset to restore the default channel names to the selected
range. Touch the name box to edit the name when a single channel is selected.
3
Colour – Touch a colour to change or press Reset to restore the default
channel colours to the selected range.

9.4 Config / Network
Use this page to configure the IP Address and Unit Name to identify the MixRack on the network.
1
IP Settings – To set a static IP Address, touch the IP Address box and type
in the address. Make sure the Subnet Mask and Gateway are valid, and all devices on
the network including Wi-Fi routers, access points or laptops have unique but
compatible addresses.
The default MixRack IP Address is 192.168.1.70 with Subnet Mask 255.255.255.0 and
Gateway 192.168.1.254. You can restore these defaults by touching the Reset button.
Enable DHCP to allocate an IP Address to the MixRack by a network DHCP server,
for example a Wi-Fi router.
 Only use DHCP when a DHCP server is connected to the MixRack. If DHCP is
enabled and the MixRack is powered up while no server is present, it can take longer
than usual for the system to boot.
2
Unit Name – A name with up to 16 characters can be set to identify the
MixRack on the network. The default is ‘dLive Mix Rack’.
3
Connections – Displays the number of active network connections to the
MixRack. The Surface and touchscreens count as one connection each.

9.5 Config / User Profiles
Up to 10 User Profiles including an Administrator can be set to restrict operator access and protect selected
functions.
2
1
1
Users – The Admin user has access to all functions and can set permissions
and allocate passwords if required for the other users. The password, if one is set, is
required when the User logs in, changes User or locks / unlocks the dLive Surface.
Icons in the list indicate if a password is set and if the User is active.
Touch a User to edit its profile. Touch Active to enable this User in the Home / User
Login screen.
2
Settings – Touch the User Name box to enter a name up to 16 characters.
Touch the Password box to set or change a password up to 16 characters. Touch the
Comment box to enter an additional note.
Touch the User Scene drop-down to select a Scene to recall automatically when the
User logs in. This will overwrite current settings. A User Scene can ensure that the
mixer is restored to a known starting point for the User.
 The User Scene only recalls when the User is changed. It does not recall when the
same User logs in or the system is powered up without changing User.
Press Set Permissions to open the Permissions window (see below).
 User Profiles are stored in the dLive MixRack. They are not stored in Show
memories.
 dLive MixPad sessions will follow the User Permissions of the User logged in on
the iPad.

User permissions – Each User can have their own set of Permissions applied.
Use the tabs across the top of the window to view and set different groups of
permissions. Select an item in the list and toggle the Enabled/Disabled button as
required. The window on the right provides a description of the functions included in
the currently selected item. Use the Enable All / Disable All buttons to quickly toggle
all items in the currently open tab. Touch Apply to accept the changes.
9.6 Config / RF Devices

Use this screen to monitor and configure up to 45 connected receivers.
 Firmware 1.70 includes support for Shure ULX-D, QLX-D and Axient Digital devices
4
2
1
External RF Device Channels – Information on node and device name,
receiver channel, socket association and online/offline status. Touch to select a
device.

2
Associate with Socket – Associate the selected RF device channel with
a MixRack, Surface, DX, DT or I/O card socket. This step is required for RF Info to
appear in the Preamp section of Input channels.
3
Disable / Enable Shure Detection – When no Shure devices are
connected it is recommended to Disable Shure Detection to minimise network traffic.
 A MixRack power-cycle is required when disabling Shure detection.
If Shure detection is disabled it can be re-enabled via the Enable Shure Detection
button.
4
Clear / Unassign – Select from the following options:
Clear Offline Devices – Remove offline RF receivers from the External RF Devices list
Unassign All Offline - Remove all socket associations for offline RF Devices
Unassign All - Remove all socket associations for both online and offline RF Devices
9.7 Audio / I/O Port

These tabs display information on the fitted card in I/O Port 1, 2 and 3, and give access to any relevant
option.
See Appendix D for module specific information.
 Note that clock, redundancy and other options for the M-Dante, M-Waves and M-
ES-V2 cards are accessed by the Audinate, Waves Audio or Auvitran software
respectively. Access to these settings is not provided by the dLive interface.
9.8 Audio / Audio Sync

Use the Audio Sync page to set the audio clock options for the system.
1
Audio Clock Source – Select the clock source for the dLive system. Set
to Internal (96kHz) to use the internal audio clock, this is the default setting. Set to
an I/O Port to sync from an audio networking card, or MixRack / Surface BNC
Wordclock In to sync from a 96kHz Wordclock provided at the BNC input of the
MixRack or Surface.

 When linking two or multiple systems together using audio networking cards, the
‘Master’ system (typically the one that has control over the preamps) is set to Internal
and all other systems are set to sync from the relevant I/O Port.
 Only sync from 96kHz sources or, if an M-DL-ADAPT ‘letter-box’ adapter is fitted,
from a 48kHz audio networking card fitted in the adapter.
 When using a dLive C Class MixRack, an option is displayed in this page to set the
BNC connector as either a Wordclock input or output.
2
BNC Wordclock Out – Select the sample rate for the Wordclock output
provided at the Surface and MixRack. This can be set to Off, 44.1kHz, 48kHz or
96kHz (internal).
9.9 Audio / Source Select

The Source Select page allows the configuration of up to 20 Source Selectors, each with up to 20 sources,
that can be controlled via GPIO or IP Remote Controllers.
Sources configured in a Source Selector are mutually exclusive on the output Mix. This can be used for
example for selection of background music in a room, with automatic crossfades when switching sources.
 Note that any Input or Group routed to the selected output Mix but not selected as a member will not
be affected by the Source Selector. This allows for a priority mic, paging, announcement or alarm system
to be always routed to the output Mix regardless of the active source in the Source Selector.
3
2
4
1
Sources: Inputs / Mixes – Use the vertical tabs to switch between inputs
and mix busses (Grp, Aux. Mains) Drag and drop inputs and/or groups into the lower
pane to add them to a Source Select group.
2
Source selector members – This area shows the members of the
currently selected Source Select group along with the current level. Each group can
contain up to 20 sources which can be any combination of inputs and groups.
Once a source has been added to the group, touch the source to specify the name,
colour and on-level for the source. The name and colour specified for a source here
is independent from the name and colour used for the source elsewhere in the system
so you can give “friendly” labels to the sources for the operators.
3
Source Selector – Touch to select a Source Select group. Up to 20 Source
Select groups can configured.

4
Output – Touch to select a stereo or mono Aux or Matrix that is used as the
output for the source select group.
5
Fade In/Out Time – Set Fade In and Fade Out times between sources of
up to 10s.
9.10 Audio / AMM

The Automatic Mic Mixer (AMM) provides automatic level control of multiple microphones for spoken word
applications such as conferences and discussion panels involving several participants each with their own
mic around a table. This improves intelligibility and can reduce the risk of feedback by reducing the levels
of mics which are not being spoken into. Once set, the AMM needs little or no change at all whilst still
allowing the engineer to maintain absolute control of the mix.
 The AMM is intended for speech applications, not music.
Main Screen - NOM Mode
ON - When switched to 'ON' the AMM takes automatic control using its own gain
element just after each fader.
Chair - You can set a channel as 'Chair' to give it higher priority over the other
channels, for example to let a chairman override another speaker. The Chair mic
sensitivity and the amount that other channels are automatically ducked when the
Chair is open can be set.
Best Mic - This option ensures a single participant activates the one microphone
receiving the strongest signal. This can prevent crosstalk, phasing and ambience
issues caused by multiple microphones triggering for the same voice. The Chair mic
is not part of the Best Mic On calculation.
 We recommend you only select Best Mic On if all microphones involved are the
same type and have similar positioning and gain.
Solo - Each input has a solo option which opens the selected channel and turns all
others down. This is not additive. Only one channel can be soloed at a time.

Main Screen - D-Classic Mode
Unlike NOM mode which uses gating and fixed gain attenuation, D-Classic uses a
'constant gain sharing' algorithm to dynamically adjust the gain for each mic
proportional to its input level. Louder signals will receive more gain in the mix.
Priority Level - For each channel you can set a priority 'level' which will offset the
amount of gain going into the mix calculation and therefore give a higher or lower
artificial gain to that channel. This is a variable slider with a range from -15dB (low
priority) through 0dB (no offset) in the middle to +15dB (high priority) at the top.
ON - When switched to 'ON' the AMM sets the channel fader to '0' and then takes
automatic control using its own gain element just after each fader.
 D-Classic does not provide Best Mic On, Solo, Chair or other setup functions.

Input Assign
1
3
The Input Assign window is used to specify the number of AMMs and the members of
each AMM.
1
Inputs – Drag and drop inputs from this area into the desired AMM. All 128
inputs can be accessed, in blocks of 32, via the tabs above the input strips. Turn on
Block Select and touch the first and last item you wish to assign to drag a range of
channels into the lower window.
2
AMM(s) – Here you can view the members of each active AMM. To remove
an input from an AMM, drag and drop the item to the upper pane. A Clear button is
provided to quickly remove all inputs from an AMM.
3
Number of AMMs – Choose between 1, 2 and 4 AMM zones:
1 AMM = Maximum 64 members
2 AMM = Maximum 32 members per AMM
4 AMM = Maximum 16 members per AMM
When working with multiple AMMs in NOM mode, each AMM has its own Chair, Best
Mic and Solo options.
Settings in the Setup screen, including AMM mode, are applied to all active AMM
zones.
4
AMM Input metering-point select – Select the metering point for
Inputs assigned to the AMM:
Post Preamp
Post Gate/PEQ
Post Compressor (Pre AMM)
Post Delay (Post AMM)
5
AMM Input to PAFL source select – Select the PAFL source point
for Inputs assigned to the AMM:
Post Preamp
Post Ins A Ret
Post PEQ (Pre AMM)
Post Delay (Post AMM)

Setup: NOM
Side Chain Filter - Set High Pass and Low Pass filters to cut off frequencies below
and above the normal speech range that may cause false triggering of the mics.
Off Attenuation - Set the amount of shutoff for closed mics (from -10dB to -90dB).
On Hold Time - Set the amount of time an open mic is held open once the trigger is
removed (from 1 to 5 seconds). The Chair mic is not affected by Hold Time.
NOM Attenuation - Set the amount of attenuation applied per doubling of open mics
(from 3 to 6dB).
Chair Sensitivity - Set the sensitivity of signal required to trigger a Chair mic open
and therefore duck the other mics (from 1 to 10 = least to most sensitive).
Chair Duck Level - Set the amount of attenuation applied to other mics when a Chair
mic is open (from -3 to -40dB).

Setup: D-Classic
Side Chain Filter - Set High Pass and Low Pass filters to cut off frequencies below
and above the normal speech range that may cause false triggering of the mics.
9.11 Talkback
Use this screen to assign and configure Talkback.
Assign – Use this page to choose Talkback destinations and assign them to the
twelve Talkback Groups. Available destinations are Aux, Mtx, Grp and Main. A
destination can be selected in more than one Talkback Group and multiple
destinations can be selected within a Talkback Group. SoftKeys on the Surface,
Director and IP Controllers can configured to select a Talkback Group with either
momentary or latching action.
Pressing the physical Assign button on the Surface, or the virtual Assign button in
Director, will also open the Talkback Routing grid.

1
Mixes – Touch a Mix button to assign Talkback to that destination.
2
Talkback Group – Select a Talkback Group to view or edit the destinations
associated with that group.
3
Talkback Group Name/Colour – Edit the name and colour of the
selected Talkback Group.
1 2
3
4
Settings – Use this page to choose the Talkback source and set its options.
1
General – The default Talk switch operation is momentary (press and hold
while talking). Turn on Enable Latching for latching operation (press to turn on, press
again to turn off).
Enable Dim PAFL on Talkback attenuates the PAFL signal while talking to prevent
feedback from the engineer’s monitor into the Talkback microphone.
2
Talkback Source Select – Use the drop-down menu and Socket box to
select the Talkback source from any system input. Press Apply to confirm.
3
Talkback Source Preamp – Set the source Gain, Trim, Pad and phantom
power. You can also make the source Safe from Scene recall.
4
HPF – High Pass Filter frequency and In/Out switch.

9.12 Mute Groups
dLive provides 8 Mute Groups in addition to the 24 DCA Groups. This page lets you assign channels and
mixes to Mute Groups and control Mute masters. You can assign one or more SoftKeys to control the Mute
Groups using the Surface / Control / SoftKeys menu.
1
Select the Mute Group using the tabs at the top of the page.
2
These tabs let you navigate all available Input channels, FX Returns and Mixes.
3
Touch the on/off buttons to toggle the channel assignments to the Mute Group.
4
Touch Mute to mute the Mute Group. Touch PAFL to listen to the contribution
of the channels assigned to the Mute Group in the Monitor system. Touch SoftKey
Setup to open the Surface / Control / SoftKeys menu should you wish to assign the
Mute Group to a SoftKey.

9.13 SigGen
The Signal Generator provides a test signal to help you align and test components of a sound system.
1
Assign – Touch a Mix button to assign the SigGen to that destination. Multiple
destinations can be assigned simultaneously.
Signal can be routed to one or both sides of a stereo Mix
by touching the left or right side of the stereo Mix button.
The signal routes through the Mix processing, therefore will be affected by the Mix EQ
and compressor.
 The SigGen is disabled while Talkback is active.
2
Settings – The SigGen Level can be set from fully off to full scale +18dB.
Touch the Mute button to turn off.
There are 4 types of signal available:
Sine - A pure tone. Set the frequency using the Frequency box. This can be swept
across the full audio spectrum from 20Hz to 20kHz.
White Noise - A signal containing all audio frequencies with equal energy per Hz.
Pink Noise - A signal containing all audio frequencies with equal energy per octave,
a logarithmic curve and typically used for testing speakers and room response.
Band Pass Noise - Band filtered pink noise centred around the frequency set using
the Frequency control.
9.14 Controllers / Device Manager

Up to 8 GPIO modules and 16 IP remote controllers per device type are configurable, each with its own
assignments and functions.
 Refer to the Remote Controller Getting Started Guide for information on the device
hardware and connection.
Adding Remote Controllers to the MixRack / Controllers / Device Manager configures an
independent set of controls that can be used with or without Surface connection, for applications
such as personal monitoring, room control etc.

Add a device to the Surface / Controllers / Device Manager instead to assign Sel and Mix keys
to the IP device and use the remote controller as an extension of the dLive Surface i.e. the
channel and Mix selection is shared across the Surface and IP device.
1
Select the device tab using the tabs on top, and select one of the 16 locations
in the list. The list shows the unit name of assigned devices.
The link icon will display green when the physical device is connected to the
network and synchronised. It will display red when the device is not present or
synchronising after being added.
 The key and fader / rotary assignments for each device are stored in the dLive
Scenes. They are not stored on the physical device. These settings belong to the
device location in the list, for example you can assign functions and parameters to a
location prior to adding a device, or you can remove a device without affecting the
functions and parameters of its location.
2
Add Device – touch to assign a physical IP controller to the selected location
in the list.
Remove Device – touch to unassign an IP controller from the selected location.
3
Unit Name – touch to edit the name of the selected device.
Network – touch to edit the IP address, subnet, and DHCP setting for the selected
device. The default settings are:
IP6 IP 192.168.1.72 Subnet Mask 255.255.255.0 Gateway 192.168.1.254 DHCP off
IP8 IP 192.168.1.73 Subnet Mask 255.255.255.0 Gateway 192.168.1.254 DHCP off
 To avoid network conflicts, make sure all connected IP controllers are assigned a
unique name and IP address.
9.15 Controllers / Quick Setup

Quick Setup lets you quickly assign one or multiple channels to the IP controller strips, automatically
mapping the keys and faders / rotaries to a set of default functions and parameters.

1
2 3
⚙ Before you start, hold down Setup and touch anywhere in this screen to edit the
default settings for Quick Setup. These settings determine the function of the strips at
the moment of assigning to the IP device. They don’t affect strips which are already
assigned.
1
Drag and drop channels into the desired position in the lower window. Use the
tabs on the left to view different types of channels available, and the tabs on top to
navigate to higher / lower number channels.
Turn on Block Select and touch the first and last item you wish to assign to drag a
range of channels.
2
Drag channels out of the box to unassign.
3
Set the active Number of Layers from the dropdown menu and select the
Layer you want to assign channels to. Up to 6 SoftKeys on the IP Controller will be
automatically assigned to the Layer selection.

9.16 Controllers / Advanced
Advanced allows one-by-one assignment of keys and faders / rotaries.
1
Touch a strip header to expand the view and display the assigned functions or
parameters for the strip.
2
Touch a control to assign a function or parameter. Note that the screen will
display two rows of rotary controls for the IP6. The lower row is the main function, the
upper row is the secondary (push ‘n turn) function. When assigning a level control to
a fader or rotary there is the choice of Audio Taper or user definable range.
When Audio Taper is enabled, the fader/encoder will use the same audio curve as
the Surface faders. If Audio Taper is disabled, a level range can be specified using
the Range Min and Range Max boxes. If the Min = -inf option is enabled then the
minimum level of the fader/encoder will be off (-inf) regardless of the range settings.
3
Select the Layer you want to edit.
9.17 Controllers / Simulator

Use this screen to simulate the operation of the selected device.

Touch a key on the screen to control the assigned function. Touch a fader / rotary
control and use the Surface screen rotary encoder to control the assigned parameter.

10. Surface Setup
These pages let you configure the Surface preferences, illumination, strip layout, audio and network
settings.
10.1 Control / Strip Assign

Any combination of Input channels, FX, Mix masters, DCAs and MIDI strips can be assigned to the 6 layers
of faders. This lets you customize the mixer layout to suit the application. The layout is stored within Scenes
and can be made Safe from Scene recall.
The factory Template Shows provide a classic layout with Input channels on the left and Mix masters on the
right to give you a starting point.
Current assignments are shown in the lower window arranged in Banks and Layers.
1
Drag and drop channels into the desired position in the lower window. Use the
tabs on the left to view different types of channels available, and the tabs on top to
navigate to higher / lower number channels.
Turn on Block Select and touch the first and last item you wish to assign to drag a
range of channels into the lower window. If you drop more channels than there are
strips available then they will wrap into the next Layer overwriting channels currently
assigned there.
2
Drag channels out of the window to unassign.
⚙ Hold down Setup and touch anywhere in the Strip Assign page to access the
assign preferences. Turn on Sync Selected Layer with Surface to make the screen
follow the active Layer on the Surface for the selected Bank.
10.2 MIDI Strips

Fader strips can be assigned as MIDI Strips. There are 32 MIDI Strips available. Each can be assigned to
transmit a custom MIDI message. This is ideal for controlling audio within a Digital Audio Workstation
(DAW), a slave mixer, or parameters on external equipment such as effects devices. MIDI Strips can be
named and coloured. They are stored within Scenes and can be made Safe from Scene recall.
Custom MIDI messages can be assigned to faders, all six rotary functions (Gain, Pan and Custom 1-4),
Mute, Mix and PAFL keys. To configure the messages press the MIDI Strip Sel key.

MIDI Strip – Touch the top left box to set name and colour for the MIDI Strip. Touch
a control box to type in a custom MIDI message where <VAR> represents a variable
value.
Turn Local on if you want the key LED indicator to follow local presses. Turn this off if
you want the indicator to follow remote messages (MIDI tally).
The following default CC and Note on/off messages are assigned within the factory
Template Shows for MIDI Strips 1-32 (hex values shown):
• Fader = B1, 00, <VAR> to B1, 1F, <VAR>
• Rotary Gain = B2, 00, <VAR> to B2, 1F, <VAR>
• Rotary Pan = B2, 20, <VAR> to B2, 3F, <VAR>
• Rotary Custom 1 = B2, 40, <VAR> to B2, 5F, <VAR>
• Rotary Custom 2 = B2, 60, <VAR> to B2, 7F, <VAR>
• Mute key = 91, 00, <VAR> to 91, 1F, <VAR>
• Mix key = 91, 20, <VAR> to 91, 3F, <VAR>
• PAFL key = 91, 40, <VAR> to 91, 5F, <VAR>
 You can restore the factory default MIDI messages by recalling the ‘Reset MIDI’
Scene in the Template Shows. This resets the messages for all 32 MIDI strips.
 Download the DAW Control driver from www.allen-heath.com to convert the default
MIDI messages to popular HUI or Mackie Control protocols for DAW use. The DAW
Control driver is not available for Windows PC computers.

10.3 Control / SoftKeys
dLive Surfaces provide up to 26 assignable keys on the right of the Surface, depending on model.
1
Touch one of the SoftKeys buttons on the right of the screen to select it. Swipe
up / down to scroll.
2
Open the Function drop-down menu and select the function to assign. Set the
Channel Type and Channel Number to select the required channel (only applies to
certain functions). Turn on Invert LED if you want the SoftKey LED to be lit when the
function is off. Press Apply to confirm the changes.
 SoftKey assignments are store within Scenes. To prevent SoftKey assignments to
be overwritten on Scene recall, you can make one, a selection or all Safe using the
Scenes / Global Scene Safes screen.
Available SoftKey functions are as follows:
• Unused
• AMM Control – Turns on/off an AMM zone or an individual channel in an AMM
• Assign ON/OFF – Tap to toggle the send assign for an Input/FX Return to a Mix,
Mute Group, DCA or engineer’s IEM/Wedge
• Custom MIDI - Transmit a custom MIDI message string
• DCA/MCA Spill Active – Turns DCA/MCA Spill mode on/off
• Fader On-Off – Illuminates when the selected channel fader is at a value higher
than -inf
• Fader Start – Momentarily illuminates when the selected channel fader moves
from –inf
• Level Down – Tap to decrease level for faders
• Level Up – Tap to increase level for faders
• MCA On/Off Selected DCAs – Toggles MCA mode for DCAs selected in bank
view
• MCA On/Off Specific DCA – Toggles MCA mode on a specific DCA
• MCA On/Off All DCAs – Toggles MCA mode on all DCAs
• Mix – Quick access to a specific Mix
• Mute – Mute control for any input channel, bus or DCA
• Mute Group – Mutes/unmutes the specified Mute Group
• PAFL – Quick access to a selected PAFL
• PAFL Clear – Turns off all currently active PAFL keys
• Peak Hold Reset – Clear all current Peak Hold indicators
• Scene Controls – Quick access to scene controls (Recall, Store etc.)
• Sel – Quick access to processing for a channel

• Sel Mix PAFL Scene – Combination on single key, for example to recall a
specific per-Mix strip layout when mixing monitors
• Send Level Down – Tap to decrease level for Aux/FX/Matrix sends with the
option to set a Max/Min gain range
• Send Level Up – Tap to increase level for AuxFX/Matrix sends with the option to
set a Max/Min gain range
• SIP – Press and hold for 1 second to activate Solo In Place (SIP)
• Talkback Assign - Talkback to different outputs
• Talkback Group – Turn on Talkback to a specified Talkback Group with
selectable latching or momentary switch behaviour.
• Tap Tempo - Assign to any of the 16 FX L or R tap or as a Global Tempo
10.4 Control / Surface Preferences
1
Custom Rotary Functions – Use the drop-down menus to select the
required Function for each Custom strip rotary control. Available functions are
Unused, Direct Out, Send Level (Aux or FX sends), HPF Frequency, Compressor
Threshold, and Channel Level. Touch Apply to confirm the change.
2
Display Parameter Values on LCD will display the fader position in dB value
or value of the rotary function every time the fader or rotary are moved.
No Sends On Faders inhibits sends on faders when pressing any Mix key. The
channel faders will always control the Input main levels or Mix masters when this
option is enabled. You can still control the send levels by using the strip rotary Sends
function, Soft Rotaries Sends widget, or touchscreen Routing screen.
3
Layer Link – Touch the buttons to link or unlink the Layers across the fader
banks. Selecting a Layer on a linked bank will select the same Layer across all linked
banks.
3
Roles - allows you to configure up to 4 surface roles, each with a separate
scene range and role filter.

 See section 7.8 Role Filters in this guide for more details on Role Filters.
Clicking on the edit icon lets you name each role, for example FOH, MON, REC,
BROADCAST.
Each role can be assigned a range of scenes using the Start Scene and End Scene
boxes. Scenes outside of the specified range will not be accessible from this surface
role. This is useful for multi-surface setups where the engineers require independent
scene ranges.
10.5 Control / Dimmer

Use this page to separately adjust the brightness of the touchscreen, LEDs, switch backlights, fader strip
LCD displays, and intensity and colour tone of the integrated LED strip illumination. These settings are
stored in Scene memories.
10.6 Control / DCA/MCA Options

DCA/MCA Spills populate the Surface with only the channels assigned to a DCA/MCA, temporarily
overriding the current strip layout, whenever a DCA/MCA Mix button is pressed.
The DCA/MCA Mix function can be assigned to SoftKeys, which allows spills to be used when DCA/MCA
strips are not in the active Layer, or even dedicate some DCAs as pure ‘population groups’ without a fader.
Go to Surface / Control / SoftKeys to assign.
 See Appendix F in this guide for more details on MCA functionality.

1
5
4
6
1
Order – The order in which the channels are displayed on the Surface. Set to
Numerical to follow the channel number, or Strip to follow the order of the strip layout
at the moment of the spill.
2
Layout – Set to Auto to automatically spill to the fader banks not used by the
DCA/MCA. Set to Manual to manually select the fader banks for the spill.
3
Spill Active – Touch to enable or disable the DCA/MCA Spills function
globally. This switch can be assigned to a SoftKey and used as a quick way to restore
the normal strip layout whichever spill might be active.
4
All DCAs – When enabled, all DCAs will operate in MCA mode when an Aux
is the active Mix.
5
Individual DCAs – When enabled, specified DCAs will operate in MCA
mode when an Aux is the active Mix. Individual DCAs can be configured to MCA mode
in Processing / Bank View
6
Choose DCAs – Touch to select DCAs that will operate in MCA mode when
Individual DCAs is enabled.
1
Touch the On/Off buttons to select the DCAs to operate in MCA mode when
Individual DCAs is selected.
2
Touch to close DCA selection and return to the main DCA/MCA Options screen.

10.7 Audio / PAFL
Set your preferences for the PAFL monitoring system.
The strip PAFL key operates in the following way:
• Mix PAFL overrides Mains in the monitor
• Input PAFL overrides Mix PAFL
• Releasing Input PAFL restores previous Mix PAFL
• Pressing Mix PAFL clears any Input PAFL
2 3
5
4
1
PAFL Number – Set the PAFL bus that the Surface will use for the
monitoring system. This affects the function of the PAFL keys, Listen key, and audio
to the Surface headphones.
When more than 1 PAFL bus is configured in the Mixer / Config / Mixer Config
screen, multiple operators can share the same dLive system whilst using different
PAFL busses.
 The MixRack headphones output is fixed to PAFL bus 1
 The RTA function is fixed to PAFL bus 1
 Wedge and IEM strips are fixed to PAFL bus 1
 PFL Trim is not present on PAFL bus 9 and 10.
 When using SIP (Solo In Place), the PAFL Number should match PAFL Used For
SIP number
2
Mix Follows Mix PAFL automatically makes a Mix key active when a Mix PAFL
key is pressed.
Mix Follows Input PAFL automatically makes a Mix key active when an Input PAFL
key is pressed.
Sel Follows PAFL automatically selects a channel when its PAFL key is pressed.
Additive Mode sums PAFL selections when turned on. Selections auto-cancel when
turned off.
Select either PFL (pre-fade listen) or AFL (after-fade listen) for Input channels and Mix
(Output) masters when the strip PAFL keys are pressed.

3
Ext Input to PAFL Source – Use the drop-down menu to select and
assign an external signal, Group, Aux, Matrix or Main to the PAFL monitor, for example
an I/O Port input for ‘shout’ communication between FoH and Monitor engineers. The
signal will not be affected by the engineer’s Wedge or IEM fader strip level.
 Either the Left or Right channel must be selected when assigning stereo Groups,
Aux, Matrix or Main busses to Ext Ip Talk To PAFL.
When assigned, controls for the preamp Gain, Trim, PAD and phantom power will
appear in the window to the right.
4
A Delay up to 680ms can be set to align the PAFL signal with the acoustic
sound from the stage.
PFL Trim attenuates the PFL signal by up to 24dB relative to the AFL signal. This
avoids loud PFL levels in situations where the Mix output levels are low.
 PAFL Delay settings are reset to 0ms if a bus configuration change is made in
Mixer / Config / Mixer Config
5
Mix to PAFL – Set how much of the selected mix goes to the monitor system
when no PAFL is active. Touch the Set Mix button to select a mix (Mains, Group, Aux
or Matrix)
It is typical, for example, to have Main Left and Right feed the PAFL Left and Right
busses in a FOH application, or a specific performers IEM mix in a MON application.
10.8 Audio / SIP

Configure and enable/disable SIP (Solo In Place).
When SIP is enabled, channel PAFL buttons on connected Surface(s), Director and IP
Controllers will function as a SIP button.
SIP can be used to listen to one or more channels (Inputs, Groups and FX Returns) in isolation
through the main outputs of a system. When SIP is active on one or more channels, all other
channels are muted unless they have been made Solo Safe.
 SIP affects the audio to all outputs in the system and should be used with care.
1
2 4
1
PAFL Used For SIP – Select the correct PAFL number to use for SIP control.

 This should be the same number as the Surface PAFL Number. If the numbers do
not match, the channel PAFL buttons will not activate SIP.
2
Enable/Disable SIP – Touch to enable or disable SIP.
When enabled, a “SIP Armed” notification will appear near
the bottom of the screen. Touch this notification to return
to the SIP screen at any point.
3
Solo Safe – Select Input, Group and FX Return channels to be made Solo
Safe. Channels which are made Solo Safe will not be muted when SIP is active.
4
SoftKey Setup – Touch to access the SoftKeys screen where SIP
Enable/Disable can be assigned to a Surface, Director or IP Controller SoftKey.
10.9 Audio / USB Audio

Set up and manage stereo recording and playback to a USB key. dLive can play mono or stereo WAV files,
16bit or 24bit, with sample rate of 44.1, 48 or 96kHz. USB recording is fixed stereo WAV 24bit 96kHz
(approximately 34MB per minute or 2GB per hour).
 The USB key must be formatted FAT32 with 32k cluster size. We recommend you
format the key using this page prior to use.
2
1
1
Use the transport buttons to Play, Pause, Stop, Record and select previous or
next track. To record, press Record to arm the recording, then press Play.
2
Folder – Choose to display audio files present in the USB key Play or Record
folder. The two folders are named AHDLIVE/USBPLAY and AHDLIVE/USBREC
respectively and are automatically created when a USB key is plugged into the
Record/Playback USB port.
Scroll through the list and touch a track to select. The name and length will be
displayed in the left window.
3
The current source for USB recording and USB Playback patch is displayed.
Touch the Assign button to open the I/O screen and assign source or destination.

10.10 Audio / I/O Port
These tabs display information on the fitted I/O Port card/s, and give access to any relevant option. See
Appendix D in this guide for details.
10.11 Audio / Audio Sync
1
BNC Wordclock Out – Select the sample rate for the Wordclock output
provided at the Surface and MixRack. This can be set to Off, 44.1kHz, 48kHz or
96kHz (internal).
 When using a dLive C Class Surface, an option is displayed in this page to set the
BNC connector as either a Wordclock input or output.
2
AES Out Sample Rate – Select the sample rate for the Surface AES3
outputs. This can be set to 44.1kHz, 48kHz or 96kHz. Sample Rate Conversion will
be bypassed when set to 96kHz.
3
You can turn the Sample Rate Conversion on or off for each stereo AES3 input
as required.
 Only turn off SRC if the AES sources are syncing from a 96kHz clock provided by
the dLive.
10.12 Audio / Metering Ballistics

The response of dLive meters on screen and Surface can be tweaked to suit the engineer’s preference.
 To set the global meter source point for Input channels and Mix masters, hold
down Setup and touch the main screen area in the Meters / Inputs or Meters /
Mix screen.

1 2
1
Use fast Attack and Release for fast response, digital absolute peak meters.
This ensures you keep control and avoid digital clipping of signals including those
with very fast dynamics, but note that the meters may read hotter than those on other
consoles you are used to.
Use slower Attack and Release to ‘dampen’ the response if required.
2
The Peak Hold Time can be set from 40ms to 10s or to infinite. This is the
amount of time the highest segment of the meter will stay lit and indicates the highest
signal level within such time. It also affects the red Peak indicator.
 The red peak indicator lights to warn that the signal is within 5dB of clipping. It is
multi-point sensing which means it detects peak activity at several points in the
signal path.
3
Touch Peak Hold Reset to clear all current Peak Hold indicators.

10.13 Config / Network
Use this page to configure the IP Address and Unit Name to identify the Surface on the network.
1
IP Settings – To set a static IP Address, touch the IP Address box and type
in the address. Make sure the Subnet Mask and Gateway are valid, and all devices on
the network including Wi-Fi routers, access points or laptops have unique but
compatible addresses.
The default Surface IP Address is 192.168.1.71 with Subnet Mask 255.255.255.0 and
Gateway 192.168.1.254. You can restore these defaults by touching the Reset button.
Enable DHCP to allocate an IP Address to the Surface by a network DHCP server, for
example a Wi-Fi router.
 Only use DHCP when a DHCP server is connected to the Surface. If DHCP is
enabled and the Surface is powered up while no server is present, it can take longer
than usual for the system to boot.
2
Unit Name – A name with up to 16 characters can be set to identify the
Surface on the network. The default is ‘dLive Surface’.
3
Connections – Displays the number of active network connections to the
MixRack. The Surface and touchscreens count as one connection each.

10.14 Config / Target MixRack
On this page a MixRack can be selected for connection to the Surface.
1
Target MixRack – The Surface remembers the last MixRack it connected
to and attempts to connect to it at power up. If you want to connect the Surface to a
different MixRack on the network, select the MixRack from the list or type in its IP
Address and press Apply.
10.15 External Screen

Use this page to select the output of the external VGA connector. The VGA output can mirror either screen
of the dLive Surface, or set to display a third, independent view.
You can connect a mouse and/or keyboard to the Surface USB port/s for use with the external screen.
 The external screen must support a resolution of 1024x768.
 External touchscreen devices can be used if they support a resolution of 1024x768
and are class compliant on Linux. dLive does not support third party driver installation.
10.16 Controllers
Up to 8 GPIO modules and 16 IP remote controllers per device type are configurable, each with its own
assignments and functions.
 Refer to the Remote Controller Getting Started Guide for information on the device
hardware and connection.
 Please refer to sections 9.11 to 9.14 in this Guide for instructions on setting up and
assigning IP remote controllers.
Adding a device to the Surface / Controllers / Device Manager adds the option to assign Sel
and Mix keys to the IP device. In this mode the remote controller becomes an extension of the
dLive Surface i.e. the channel and Mix selection is shared across the Surface and IP device.
Add controllers to the MixRack / Controllers / Device Manager instead for applications where
the Surface is not present or an independent set of controls is required.

11. Shows / Utility
11.1 Memory / Show Manager
A Show file stores the complete dLive setup. This includes the mixer bus configuration, system preferences,
all Scene memories and all Libraries. User Profiles are not stored in Show files. Shows are stored in the
dLive Surface and can be transferred between dLive systems or archived via USB key.
 See Appendix B in this guide for details on Scene and Show memory content.
User Shows can be overwritten, renamed or deleted. Factory Template Shows provide a quick starting
point by giving you a familiar layout and classic mix architecture for typical FoH and Monitor applications.
Template Shows cannot be edited or deleted. They contain a number of default Scenes to reset the mixer
settings, patch and Surface layout to the starting point.
 See Appendix C in this guide for an overview of available Template Shows.
1
dLive Shows – Lists Template and User Shows stored in the dLive Surface.
Touch Store Show and type in a name to store a new User Show.
Touch a Show to select it and press Overwrite to update it with current settings. You
can Rename and Delete existing Shows. Touch Info to display the file size of the
Show and the date it was last modified. Touch Recall and confirm to recall a Show.
When loading a show created in earler firmware, a message
will appear warning you that new features will not be reset. If
you select Yes to load the show you should then check the
parameters of any new features before proceeding to ensure
they are set appropriately.
 Recalling a Show overwrites all system settings, bus configuration, Scenes and
Libraries. If you want to keep your current settings for later use, archive them first as
a User Show.
 Recalling a Show will briefly interrupt the audio. It is not intended for instant recall
of band settings or theatre cues. Use Scenes for such applications instead.
 dLive Shows stored on systems running more recent firmware will not load on
systems running earlier versions. However, earlier versions of Shows are compatible
with dLive systems running later firmware.

2
USB Shows – Lists User Shows stored in the USB drive. The files are stored
in the USB AllenHeath-dLive/Shows folder. Touch a Show to select it and press
Overwrite to update it with current settings. You can Rename and Delete existing
Shows. Touch Info to display the file size of the Show and the date it was last modified.
Touch Recall and confirm to recall a Show.
Select a USB Show and touch Copy to dLive to copy the file to the dLive memory.
Select a dLive Show and touch Copy to USB to copy the file to the USB drive.
⚙ Hold down Setup and touch anywhere in this screen to access Show Manager
Options. Enable Allow Surface Only Recall to only recall the surface data from a
show. MixRack data will not be affected by a show recall when this option is enabled.
This option would typically be used when in Multi-Surface mode so that current
settings and audio on the MixRack and main Surface wouldn’t be disrupted when a
Show is recalled on the second Surface. See Appendix E for more information.
11.2 Memory / Library Manager

Use this page to edit and transfer Library presets. Library memories include Channel Processing, Mix
Processing, PEQ, GEQ, Gate, Compressor, FX parameters.
1
dLive Libraries – Lists Libraries stored in the current Show. Touch a Library
to select it. You can Rename and Delete existing Libraries. Touch Copy to USB to
copy the Library to the USB drive.
2
USB Libraries – Lists Libraries stored in the USB drive. The files are stored
in the USB AllenHeath-dLive/Libraries folder. Touch a Library to select it. Touch Copy
to dLive to copy the Library to the dLive memory.
 dLive Libraries are stored within a Show file. If you want to use one or more Library
in a different Show, archive them first to USB, recall the Show, and transfer the
Libraries back to the dLive.

11.3 Utility / History
This page keeps a timed register of events such as system boot up or shut down, when Scenes are recalled,
and any error recognized by the system.
1
If you suspect a problem with the dLive system you can Copy the logs to USB
Key and send them to Allen & Heath Product Support for diagnostic purposes.
 Any time an error is logged a warning message will appear in the Home screen
and a yellow triangle is displayed in the top right corner of the screen. Touch the
triangle to navigate to the Home screen and investigate the error.
⚙ Hold down Setup and touch anywhere in this screen to access an option to Show
detailed Event Logs.

11.4 Utility / Date/Time
Use this page to set the current date and time. The time is displayed in the Home screen and used in the
History and Event Logs.
11.5 Utility / Calibration

This page lets you recalibrate the accuracy of the motor faders and touchscreens.
To calibrate the faders, touch the Calibrate button and follow the on-screen instructions, moving
the faders to the positions instructed at each step.
 It may be necessary to re-calibrate the motor faders after you update the firmware
or perform a full system reset.
To calibrate the touchscreen, touch the Calibrate button and wait for the automated procedure
to complete.
11.6 Utility / Firmware

Use this page to view or update the current firmware, driver and OS versions. Firmware is updated via a
USB drive.
 Keep your dLive system updated with the latest version of firmware. Check
www.allen-heath.com for the latest version and information.
 Updating dLive firmware resets its parameters and preferences. If you want to keep
your current settings save these as a User Show first. Updating firmware does not
affect User Shows or User Profiles.
 dLive Shows stored on systems running more recent firmware will not load on
systems running earlier versions. However, earlier versions of Shows are compatible
with dLive systems running later firmware.
 In a Multi-Surface configuration, Surfaces should be updated individually – either
connected as a Primary Surface or with no MixRack present and via the Connection
Failed screen. Updating the firmware with Secondary Surfaces connected via
gigaACE I/O modules is not supported.

To update the firmware:
1. Download the latest firmware from www.allen-heath.com and save the .zip file.
2. Remove any previous dLive firmware from your USB drive. To do this, look into the USB
AllenHeath-dLive folder and delete the existing Firmware folder and also the Firmware.md5 file.
Do not delete other files or folders.
3. Open and extract the .zip file to the root directory of your USB drive.
 Do not change the folder name or browse inside the Firmware folder as doing this
may cause firmware corruption. Attempting to navigate or open files within this
directory may cause your Operating System to leave behind small temporary system
files which can invalidate your firmware.
4. Safely remove the USB drive from your computer.
5. Plug the USB drive into the dLive USB port, and touch Update in the Firmware page.
The dLive will reboot to a ‘bootloader’ screen and if valid firmware is found on the
USB drive then details of the current versions and versions found on the drive will be
displayed.
6. Touch the Update button.
 Do not interrupt this process. Failure to complete the transfer may result in
firmware corruption. Make sure the mains power and connecting cables are reliable
and that the system will not be disturbed or switched off during the update.
7. When the firmware has been successfully installed, the system will automatically
reboot.
8. Once the system is fully booted, recall a Template Show or User Show to restore your
settings.

11.7 Control / MIDI
Use this page to assign the MIDI channel number and operate the MIDI Transport controls (MTC). These
send out the related MTC messages over TCP/IP.

12. Appendix A – DEEP Processing and RackExtra FX
DEEP processing embeds class-leading compressors and processing emulations directly within the Input
and Mix channels. An array of bespoke algorithms can be inserted on the fly without burning FX slots and
without the setup, latency and licence hassles associated with external plug-ins.
The RackExtra FX portfolio combines the pristine quality and wide choice offered by boutique plug-ins with
the convenience and low latency of onboard processing.
12.1 DEEP Processing Preamp models
Dual-Stage Valve – Inspired by a known studio preamplifier, this model recreates the
distortion characteristics of valve circuits, from very subtle coloration to full overdrive.
It can be fully bypassed with the On/Off switch.
Stage-1 adds subtle tonal harmonic distortion and offers two modes which mirror the
typical valve topologies of analogue preamplifiers: Triode is richer in even order
distortion resulting in a musical, warm response; Pentode is stronger in odd order
distortion (predominantly 3rd), resulting in crisper, sharper sound.
Stage-2 provides overdriven valve emulation. It can be switched off circuit or to either
Triode or Pentode mode. Bias controls the level of overdrive. With HiDrive Off, it
produces pronounced ‘break up’ distortion and compression at high levels. HiDrive
changes the gain structure to produce a continuous overdrive effect.
The HF control adjusts the HF content to compensate for mid-range tonal lift and high
frequency compression.
The Output level is effectively a make-up gain to compensate for the level loss.

Tube Stage – Derived from our Dual-Stage Valve DEEP processor, this model
recreates the distortion characteristics of valve circuits, from very subtle coloration to
full overdrive, with a simplified control set. It can be fully bypassed with the On/Off
switch.
A number of modes are available via the rotary selector switch offering different
distortion characteristics – see the Dual-Stage Valve section for more information.
The Drive control adjusts the amount of distortion applied to the signal.
The Level control is effectively a make-up gain to compensate for the level loss.
12.2 DEEP Processing Compressor models
16T - Inspired by an industry classic VCA based RMS compressor this model
produces a tight, punchy compression particularly useful with live bass and
percussion and also vocals, and with a very easy to use three rotary control interface.

16VU - Based on an original vintage VCA based RMS compressor with VU needle
meter, with pleasant characteristic sound due to its non-linearity and distortion
artefacts, and also with a simple three rotary control interface.
Ducker - The Library for the Gate and Compressor processing blocks includes a
channel Ducker with key source selection and LPF/HPF filters, plus controls of
Threshold, Depth, Attack, Hold and Release.
Manual Peak - Offers the response of a peak based threshold detector with various
smoothing, auto hold/recovery schemes to minimise distortion. The algorithm is
capable of ultra fast attack time with minimal lag before onset.

Manual RMS - Offers the response of a fairly fast pre-threshold RMS detector with
added ability to manually modify the post threshold ballistics for classic sounding
RMS compression with additional attack or release smoothing.
Mighty Compressor – Inspired by a classic transistor array VCA dynamics

processor, Mighty is an aggressive sounding compressor with a very fast attack. The
Detector switch offers two distinct voices with easy control over Threshold and
Release values in addition to an Output control to restore any volume lost.
The characteristics of Mighty make it particularly useful on kick, snare, bass and
parallel compression duties.
Opto - Offers the response of a filament optical compressor. The release has non-
linear exponential recovery, fast at the start and smooth for final recovery stage. This
creates a smooth and musical sounding compressor.

OptTronik – Based on a legendary tube-driven, electro-optical compressor,
OptTronik offers smooth, musical compression with easy to use controls. The
Limit/Compress switch is used to set the compression ratio and amount of
compression is determined by the Peak Reduction control. The Gain control can be
used to restore any volume lost to compression. The Emphasis control is used to set
the high frequency response of the compressor.
Peak Limiter 76 - A faithful emulation of the legendary FET limiting amplifier from the
late 60s, complete with its nonlinear distortion characteristics, program-dependent
Attack, Release and Ratio settings, and trademark ‘All buttons’ mode.
The Unit switch selects one of two units which have been modelled: the modern silver
and the black vintage.
12.3 DEEP Processing GEQ models
Constant-Q - Symmetrical cut/boost where the width (Q) of the filter is a constant
1/3rd octave for any amount of cut or boost.

Proportional-Q - Provides smooth wide Q for low cut/boost, which progressively
tightens beyond 1/3rd octave for max boost/cut.
Digi-Q - Gain and width are optimised to minimise band interaction and to provide a
frequency response as close to the slider positions as possible.
Hybrid - Allen & Heath have developed the best of both worlds. The boost is
proportional-Q for smooth and warm small boost settings. The cut is Constant-Q
providing clinical 1/3rd Octave attenuation with minimal band interaction.

12.4 DEEP Processing AMM
Operating Principles
The AMM works by automatically reducing the mix level proportional to the
microphone activity at any time. It adds an automatic gain element and derives a
trigger source within each assigned channel.
The AMM takes control by using its own post-fade gain element to make its automatic
adjustments. It is typical to leave the faders at '0', but they can be adjusted if the
engineer wishes to make additional post AMM level changes manually to adjust the
relative balance between mics in the mix.
The AMM affects all channel post-fade sends but not pre-fade sends such as monitors.
The AMM determines when microphones are open (detects a level or speech) by
analysing the channel signals at their pre-Insert point. The PEQ, Comp and fader do
not affect AMM signal detection.
The AMM uses a complex algorithm to automatically optimise the overall gain by
adjusting the microphone levels sent to the mix according to how many mics are open.
If just one mic is open then its level is passed through at 0dB and the others are
attenuated. If several mics are open the overall gain is automatically reduced.
Additional features allow ambience to be maintained, crosstalk and false triggers to

be eliminated, and microphones to be selected as 'Chair' to take priority over others
by ducking their levels.
NOM Mode
NOM (Number of Open Mics) mode evolved from the AMM developed for the Allen &
Heath IDR8 installed sound processor, NOM mode acts as a gate, turning an input on
when a threshold is passed. The level adjustment for each open input is equal and
depends on the number of microphones open and the NOM attenuation parameter
which sets the amount of attenuation applied for every doubling of open microphones.
Adaptive Threshold - You do not need to set the open mic threshold. NOM mode
senses the background ambient noise level and automatically adjusts the open
threshold level to ensure consistent triggering regardless of background noise.
Ambience Maintenance - Keeps the last open microphone locked on until another
channel is opened to ensure consistent ambient noise is maintained, especially
important in a broadcast environment. If just one microphone is active in the AMM
then it is held open to maintain ambience.
Scenes and the AMM

AMM settings are stored in dLive Scenes. However, these can be made globally safe
from Scene recall using the Scenes / Global Safes screen in the Scenes menu. They
can also be filtered out of individual Scene recall by highlighting a Scene in the list,
touching its Recall Filter button to access its filter 'Others' tab and blocking the AMM
item.
User Permissions and the AMM
AMM settings can be protected from selected users by disabling 'AMM' parameters in
the MixRack / User Profiles / Set Permissions screen under the AMM tab.

Using the AMM
Set up and position the microphones. It is best to use the same type of microphone
and position them so that the participants are not too close or too far from each. To
avoid false triggering and phasing the distance from each voice to its mic should be
closer than the distance between the mics. The distances from each mic to voice
should be similar for consistent operation.
Set up an Audio or DCA Group for master control. Decide which mic channels to use
for the AMM. Before assigning to the AMM we recommend you either route these via
an audio Group to the LR mix (remember to also unassign these channels from the
LR mix), or assign a DCA Group to them. This gives you a master fader and mute for
quick overall control.
Set the mic gain and processing. It is best to start with the Group master fader down
to avoid unexpected high levels in the PA while setting the gains. Use PAFL to check
audio level and quality. Set gain for the loudest speech expected. Use the HPF and
PEQ to tailor the sound for speech.
Set up the AMM. Use the Setup / Audio / AMM screen. This displays the current mode
and assignments as well as blue bars showing the automatic gain settings. Touch the
Setup button to choose NOM or D-Classic mode and adjust the available settings.
Assign the channels to the AMM. When you turn an assignment ON its fader will
automatically move to its '0' position. The AMM takes over and keeps the mic closed
until it picks up enough signal to trigger it.
Bring up the AMM in the mix. Turn one mic on by having someone talk into it. Raise
the Group fader to set the required volume in the room.

12.5 RackExtra FX models
SMR Reverb - SMR Live is a Spatial Modelling Reverberator featuring 4 fully

configurable complex spatial models Classic, Hall, Room and EMT. Each of these
models use different reflection and decay algorithms to provide natural sound spaces
ideal for Live sound.
Classic Emulates high quality plates. Shape tailors the reflection pattern. Min position
for fast attack, mid position for rounded early reflections, and max position for
separated early and late reflection patterns. Adjusting shape/size/predelay with decay
can result in some great Hall reverbs. Small size settings not very useful in live sound
applications.
Hall Emulates a real Hall reflection model. No shape control, reflections are controlled
with Size, Source diffusion and Ref detail with rich deep decay spectrum.
Room Accurately emulates a characteristic complex room reflection pattern.
EMT Classic plate emulation. A great plate with good tonal balance for live use. Decay
setting around 2 seconds is typical.
The SMR primary controls essential for live mixing are always visible:
LF Cut - 0 to 400Hz, 24dB/octave high pass filter to cut low frequencies of the input
signal to the reverb.
HF Cut - 2kHz to 20kHz, 24dB/octave low pass filter to cut high frequencies of the
input signal to the reverb.
Predelay - The time it takes before the reverb reflections and decay are heard.
Decay Time - Broad spectrum decay control. The time it takes for the reflections to
decay to 60dB below the level of the direct sound is known as the RT60, an important
measurement of reverb in a room.
HF Decay - Frequency at which the high frequency decay attenuation starts.
HF Slope - The attenuation slope of the high frequency decay. HF Decay and Slope
are both essential for high frequency decay spectrum adjustment in a live space.
Setting HF Decay and Slope low creates a natural sounding decay. Setting HF Decay
and Slope high creates a dramatic decay.
In addition there are 5 pages of scrollable ‘Expert’ pages for the Reverb which allow
precision control:
Page 1 - Reflections - Source Diffusion, Size, Shape, Ref Detail.
Dedicated to reflection control. Keep source diffusion and detail low to help
intelligibility. Small sizes are not typical for live applications. ‘Shape’ is only available
in the Plate model.
Page 2 - Echoes - Echo1, Echo1 level, Echo2, Echo2 level.
Dedicated page for user defined echo reflections. You can insert main reflections to
create Echo reverb sounds. Echo1 goes to left Echo 2 goes right. Echoes may be
layered over the reverb.
Page 3 - Decay Texture - Body Diffusion, Tail diffusion, Mod depth, Mod speed.
Separate body and tail diffusion controls can help prevent metallic decay through too
much diffusion. Modulation depth and speed increase reverb density and add
chorusing, effective on percussive program but not as useful on piano and vocal.
Page 4 - Decay Spectrum - LF decay, LF XOver, Colour, Colour Freq.
Separate LF decay control with crossover frequency and decay time, useful for live
work. Colour is a tuneable element in the decay. High Freq colour settings can
enhance ambience, although it can sound metallic with some programme.

Page 5 - Reflection/decay level - Reflection level, decay level.
These controls are dedicated to balancing reflection and decay to improve
intelligibility.
Preset Name is displayed in the simulated LCD window. Touch and scroll using the
screen Rotary for live update. This is a way of live auditioning all library presets for this
module (factory, user and USB). You can also select and recall a particular preset
using the Library window.
Stereo Tap Delay - Provides a clean digital delay with a maximum delay time of
2.7 seconds. One of the key features of the stereo tap delay is the ability to
synchronise the delay times to note intervals based on the effects beats per minute
value. The delay has two modes of operation:
BPM mode -Delay time is determined by the selected beats per minute and
corresponding note value. Standard, dotted and triplet intervals are selectable via the
interval selection wheel from whole to 16th intervals.
MS mode - Delay time is set directly in milliseconds. The unit offers control over input
and feedback filters, delay width and switchable Scatter/Ping-Pong modes.
Note The Stereo Tap Delay can also be locked to the global tap tempo. Global rate
can be manually entered or tapped in using the screen of any delay FX locked to
global tap tempo, or by tapping a SoftKey assigned as Global Tap Tempo.
Input filter HP frequency – Sets the frequency of the high pass filter on the input to
the delay. This cuts low frequencies.
Input filter LP frequency – Sets the frequency of the low pass filter on the input to
the delay. This cuts high frequencies.
BPM / MS mode –Switches between Beats Per Minute and Milliseconds mode. In
BPM mode the BPM and note selection wheels are displayed allowing delay times to
be set as an interval of a selected BPM.
Interval Selection Wheel – Determines the delay time to be set in synchronisation
with the chosen BPM. The values range from whole dotted intervals to 16th triplet
notes. When an interval is not available due to the BPM being too low, the interval will
grey out and not be selectable.
MS time window (in MS mode) – Allows the delay time to be set directly in
milliseconds.
Link – Links the left and right delay times.
Local / Global Tap – Locks the delay time to the global tap tempo allowing global
synchronisation across the console or locally to this effect unit.
Fractional / Notation display – Choose to display either fractions or notation
representation of the selected interval on the selection wheel.
Feedback filter frequency – Selects the frequency of the filter in the feedback path
of the delay unit.
Feedback filter slope – Selects the slope of the feedback filter. A larger slope
provides greater feedback attenuation.
Scatter mode – Modifies the delay pattern between Ping-Pong and scattered. Scatter
off creates classic Ping-Pong delays. Scatter on reconfigures the regen path giving
one delay on the shortest side and regen on the longest side replacing Ping-Pong
bounce with some interesting delay patterns. For example, an echo on one side and
a regen echo pattern on the other.

Feedback – Controls the amount of the feedback in the delay. A larger amount
increases the number of audible repeats.
Width – Controls the stereo imaging of the delay unit, from focussed mono sounding
to panned wide stereo delays.
Preset Name is displayed. Touch and scroll using the screen Rotary for live update.
This is a way of live auditioning all library presets for this module (factory, user and
USB). You can also select and recall a particular preset using the Library window.
Bucket Brigade Delay - This is an emulation of a vintage analogue delay unit

that used a 'bucket brigade device' (BBD) chip for the delay. This was a discrete
analogue time delay line where the stored analogue signal was moved along a series
of capacitance sections one step at each clock cycle, similar to a line of people
passing buckets of water.
Unlike the analogue equivalent, the GLD Bucket Brigade benefits from long delay lines
(up to 2.7 seconds) but maintains the signal degradation expected from such a
device. The level of signal degradation is switchable via a ‘DIST’ (distortion) control
which switches between different nonlinearities in the feedback path. Note that even
in its cleanest mode the Bucket Brigade delay will degrade and band limit the signal.
The delay has two modes of operation:
BPM mode - The delay interval is determined by the selected beats per minute and
corresponding note value. Standard, dotted and triplet intervals are selectable via the
interval selection wheel from whole to 16th intervals.
MS mode - The delay interval is set directly in milliseconds. The stereo beat delay
can also be locked to the global tap tempo. There are controls for both input and
feedback filters, with the latter having individual slope parameters.
Note The Bucket Brigade Delay can also be locked to the global tap tempo. Global
rate can be manually entered or tapped in using the screen of any delay FX locked to
global tap tempo, or by tapping a SoftKey assigned as Global Tap Tempo.
Input filter HP frequency – Sets the frequency of the high-pass filter on the input to
the delay. This cuts low frequencies.
Input filter LP frequency – Sets the frequency of the low pass filter on the input to
the delay. This cuts high frequencies.
Width – Controls the stereo imaging of the delay unit, from focussed mono sounding
to panned wide stereo delays.
BPM/MS mode – Switches between Beats Per Minute and Milliseconds mode. In
BPM mode the BPM and note selection wheels are displayed allowing delay times to
be set as an interval of a selected BPM.
BPM window (in BPM mode)– Touch and use the rotary to select the BPM that the
note values are synchronised from.
Interval Selection Wheel – Determines the delay time to be set in synchronisation
with the chosen BPM. The values range from whole dotted intervals to 16th triplet
notes. When an interval is not available due to the BPM being too low, the interval will
grey out and not be selectable.
MS time window (in MS mode) – Allows the delay time to be set directly in
milliseconds.
Link – Links the left and right delay times.
Local / Global Tap – Locks the delay time to the global tap tempo allowing global
synchronisation across the console or locally to this effect unit.

Fractional / Notation display – Choose to display either fractions or notation
representation of the selected interval on the selection wheel.
Low Damp Filter frequency – Selects the frequency of the low damp filter in the
feedback path of the delay unit.
High Damp Filter frequency – Selects the frequency of the high damp filter in the
feedback path of the delay unit.
Feedback filter slope – Selects the slope of the feedback filter. To filter more or less
of the feedback path.
Feedback – Controls the amount of the feedback in the delay. A larger amount
increases the number of audible repeats.
Dist – Changes the distortion characteristic of the feedback path allowing for more or
less signal degradation.
2-Tap Delay - Separate left and right tap delay outputs from a mono’d input. Left
and right delay can be dialled in using the screen Rotary, tapped on screen or tapped
using a SoftKey. Individual tap indicators flash at the tap rate.
Note 2-Tap Delay is no longer available within the factory library from firmware V1.5
onwards as it is replaced by the newer Stereo Tap Delay.
The left and right delay taps can be ganged to mono using the Link button. There are
adjustment controls below each delay tap for fine tuning the values.
The regen path (feedback) has a low pass damping filter. This filter has a frequency
and a slope control for fine adjustment of loop delay HF attenuation. There is also a
stereo output width control.
LF Cut - 20Hz to 8kHz HF Cut 400Hz to 20kHz These filters control the input
spectrum. The 24dB/octave slope gives brick wall control on what signal spectrum
gets delayed.
Delay range - 5ms to 1360ms Delay tap controls Left and Right are tappable, shown
with flashing leds.
Fine delay Left and Right adjustment in 1ms steps.
Link sets Left and Right tap delays equal with one control.
Scatter modifies the delay pattern between Ping-Pong and scattered. Scatter off -
creates classic Ping-Pong delays. Scatter in - reconfigures the regen path giving one
delay on the shortest side and regen on the longest side replacing Ping-Pong bounce
with some interesting delay patterns. For example, an echo on one side and a regen
echo pattern on the other.
Feedback controls the regeneration of the delay, creating loop delays. Feedback filter
controls HF attenuation in the regeneration path/loop delay. The frequency and slope
controls give the engineer precise HF attenuation control in the delay loop. Slope set
mid for typical settings. Slope minimum is a light HF attenuation setting, maximum
position is a large HF attenuation setting.
Width controls the stereo width of the output. Min position = mono, max position =
LR.

Echo - This emulates the classic tape echo. It faithfully models the many non-linear
attributes of the original hardware. These include frequency warping as the repeat rate
is adjusted (essentially changing the tape speed), non-linearity and harmonic content
at extreme intensity levels, and various other idiosyncrasies associated with motor
speed inaccuracies, tape drift and wow. The Echo also emulates saturation and high
frequency characteristics of the record head on tape, found on the original hardware.
The Echo allows for 7 different ‘modes’, each of which activates certain read heads
on the tape. There are 3 read heads in total which are a fixed distance apart; by
changing the repeat rate it is possible to vary the delay time at each of the heads. The
shortest delays can be found with mode 1 and the longest with mode 3. Modes 4-7
are a combination of read heads which can lead to complex repeat patterns and a
greater risk of instability. The Echo will accept stereo input however it only has a mono
output.
Input Gain - Can boost or cut up to 15dB of gain on the echo input.
Noise – Turns the analogue noise emulation on or off.
Mode Selector – Switches between the ‘read heads’ of the tape machine allowing for
different lengths of echo. 1-3 selects a single read head; 4 – 7 selects a combination
of multiple heads for a multi layered echo.
Note Be aware that when multiple heads are selected there is a greater chance for
instability and self-oscillation which can result in large output levels. For normal use
it is advised to use modes 1-3 to prevent excessive feedback.
Bass – Can cut or boost low frequency content in the feedback path of the echo. The
centre position provides a bypassed response.
Treble – Can cut or boost high frequency content in the feedback path of the echo.
The centre position provides a bypassed response.
Repeat Rate – Controls the echo time by adjusting the artificial motor speed of the
tape. A quicker rate means a shorter echo. For the longest echo select mode 3 and
set the repeat rate to the far left.
Intensity - Controls the intensity of the feedback path in the echo. More intensity
results in more repeats. When intensity is set beyond 75% the unit is capable of self-
oscillation and with external input will grow and evolve, however this can result in loud
output levels which need to be monitored. When multiple read heads are selected
(modes 4-7) added intensity causes even more instability and care should be taken
to avoid clipping.
Echo Volume - Allows for a cut or boost of 15dB of gain on the echo output.
Gated Verb - An accurate emulation of the classic 80’s Gated Reverb plus two
other variants called ‘Panned’ and ‘Powerbox’. The user interface gives instant access
to Lo-cut Hi-cut decay spectrum filters and the gate envelope controls - predelay,
attack, hold and release.

We depart from the 80’s and provide a visual representation of the gate time domain
envelope helping the engineer ‘see the time envelope of the gate’. Also included are
mono, stereo and wide imaging options and decay diffusion control.
Lo cut Decay Filter - 20Hz – 6kHz, 24dB/octave Hi Pass Filter to control the decay
spectrum.
Hi cut Decay Filter - 400Hz – 20kHz, 12dB/octave Low Pass Filter to control the decay
spectrum.
Time domain Gate envelope controls:
Predelay - 0 - 170ms adjustable pre-delay of gate opening (prior to attack starting).
Attack - Time period for gate to open.
Hold - Time period that the gate remains fully open.
Release - Time period for gate closing.
Maximum gate open time (attack + hold + release) = 500ms.
Models:
Classic nonlinear - Emulates the faithful 80’s classic gated reverb.
Panner - Rapid panning between L and R in the reverb. Short time movement FX.
Powerbox - Max power in gated energy. Not as de-correlated as classic non-linear.
Mono/Stereo/Wide - Option to switch between mono, stereo and wide stereo field
output.
Diffusion - Minimum diffusion for ‘clear’ low diffusion in the reverb decay. Maximum
diffusion for ‘rich’ highly diffused reverb.
ADT Doubler - An Automatic Double Tracking module capable of creating short

echo/chorusing, classic double tracking and ‘slapback’ tape delay loops.
The ADT is very effective in creating stereo double and quad tracked voices from a
mono input. There is also a stereo width enhancer. The tracked voices can be auto
panned in the stereo field. The ADT is perfect for creating classic doubling effects,
thickening programme on stage or developing a stereo sound field without resorting
to chorusing.
The module is stereo in, stereo out (with software normalised mono input if the source
is mono). ADT will create a stereo field from a mono source.
Delay Separation - Min position for short delay separation producing Chorusing with
Thickness set high. Mid position for classic doubling. ¾ position with thickness high
for echo-chorusing. Max position with low thickness for tape loop and slapback Echo.
Thickness - Creates flutter modulation in delay voices. Very high settings can smear
detail on some programme.
Double/Quad Track - Clear double tracking in the first position. Switch across for
thicker quad tracking. With some programme Quad can get too thick and smear
detail.
Wide - Extends the delay separation differences between Left and Right enhancing
the stereo image.
Autopan - Automatically pans the chorus voices (wet signal only, not the dry signal).
This is level modulation of the wet effect (not the dry signal) across the stereo field. It
is not complete signal auto panning.

Depth - Determines the amount of movement across the stereo field. Use higher
settings for a stronger effect.
Speed - Determines the speed of movement across the stereo field.
Chorus - Chorus derives from the late 80’s where different stereo field creation
techniques influenced the sound of each chorusing unit.
Chorus recreates the classics using 3 stereo-field emulations. These emulations can
be switched in any combination creating many different stereo fields. All switches up
gives no stereo enhancement.
The traditional Rate and Depth controls cover the centre panel. The LFO driving the
modulator can be switched to sine or rectified shape. The auto-panning section pans
the chorus voices giving stereo level shimmer, another classic modulator effect.
is mono).
Stereo Field emulations - All switches up turns all stereo enhancement off. There are
3 stereo field emulations each active with switch down. These create stereo fields from
a mono input. The 3 emulation switches can be used in conjunction with each other
creating many different stereo field sounds, just like a number of classic chorus
effects. Be careful as all 3 selected together can sound muffled rather than more
‘stereo’ with certain programme.
LFO Split uses two separate LFO’s for left and right, creating a rich stereo image that
varies with rate.
Wide pushes the left and right voices apart producing a very wide stereo image, but
can sound phasey on some programme.
MultiVoice stereo field is created through multi-voice splits across left and right. It
typically produces a thick stereo sound, but can sound muffled on some programme.
Rate - Min position for slow speed, best used with high depth settings for slow, deep
chorus. Mid position for medium speed. Use with mid depth for classic chorus sounds.
Max position for fast speed. Use with low depth settings for lively chorus.
Depth - Min position for small voice pitch variation. Useful with fast rates. Max position
for large voice pitch variation. Can cause audible pitch change. Best with slow rate.
Sine/Rectified - modulator Switches between sine wave and rectified LFO modulator.
Autopan - Automatically pans the chorus voices (wet signal only, not the dry signal).
This is level modulation of the wet effect (not the dry signal) across the stereo field. It
is not complete signal auto panning.
Pan Depth - Determines the amount of movement across the stereo field. Use higher
settings for a stronger effect.
Speed - Determines the speed of movement across the stereo field.

Symphonic Chorus - A faithful emulation of the 80’s classic chorus effect. Simple
to use and frequently requested. The unit has just two controls, Frequency and Depth,
controlling the rate and delay range of the stereo modulator. The unit produces a rich,
lively and wide chorus sound with a suggestion of very mild phasing / flanging.
Live engineers commonly use this unit for thickening vocals and strings and creating
a spatial sound from a mono source. This has led to two factory presets
‘SymphonicVox’ and ‘SymphonyStrings’.
is mono).
Frequency - Adjusts the modulator speed. Minimum setting is a very slow modulation.
Maximum is fast modulation. Like the original 80’s unit, the maximum frequency
setting is extreme and should be used with shorter depth settings to avoid space ship
sound effects. Typical settings are just left of mid position.
Depth - Adjusts the modulator delay depth. Minimum position is short delay depth
producing subtle modulation. Some programme may be more prone to
phasing/flange type sounds. Mid position is a typical delay depth setting creating tonal
depth with rich chorusing. High settings of depth can sound extreme if the frequency
is also set too high. Mid position is a typical starting point.
Flanger - Three classic flanger effect emulations – ‘Ambient’, ‘Vintage’ and ‘Wild’.
During research of classic pedal flangers we found numerous LFO modulators and
stereo splitting techniques. We implemented them all.
For classic deep flange set Stereo Split and Stereo Spread off, pick triangular
modulation, Vintage type and adjust Depth and Regeneration. The Manual switch
overrides the LFO, for manual flange sweeps, only found on few historic flangers.
is mono).
Stereo Split Uses two separate LFO’s for left and right, creating an enhanced stereo
image with left and right flanging in different directions. Can sound very ‘psychedelic’.
Enhanced Stereo Split can reduce the intensity of the flange zone.
Stereo Spread Creates an enhanced stereo image by offsetting left and right flange
voices with dynamic delay. Can sound super wide stereo or phasey depending on
programme. Enhanced Stereo Spread can reduce the intensity of the flange zone.
With both Stereo Split and Spread off the stereo image is preserved. For classic deep
traditional flange effect turn both Stereo Split and Spread off.
LFO Type selector:
Manual Speed control becomes a manual sweep control (LED goes green). Sine,
Rectified sine, Inverted rectified sine, Triangular Shape of auto oscillation. Speed
Ranges from off to fast modulation. The LED goes red when in auto mode, green
when in Manual mode.

Depth - Adjusts the flange zone depth. Min position operates in a tight flange zone.
At max position the effect sweeps in and out of the flange zone creating a greater tonal
change. High settings of Depth can sound extreme.
Regenerate - Produces feedback into the flanging delay line, making the flange more
pronounced. Min position can result in no audible flange. Max position can sound too
aggressive.
Emulation Types:
Ambient - HF rich, subtle flange, creating ambience. Great with overhead mics for a
spatial sound.
Vintage - Creates a classic silky sound reminiscent of tape machine flanging. Regen
control is well balanced LF and HF and the flanging does not get too aggressive.
Wild - An untameable, dramatic effect. The sound turns inside out.
MOO 12 Stage Phaser - A classic 12 stage emulation producing rich textured

phasing with plenty of control. The user has control of number of stages, feed forward
and feed back, and ‘zero’ depth manual mode – to manually sweep the Phaser using
the offset control.
The classic characteristic sound is produced by careful emulation of the phase chain
and operating frequency range around the offset control. Equally important is the
emulation of harmonic signatures produced by the companded analogue delay lines
producing rich harmonics adding thickness to the sound. The split/mono LFO switch
toggles between in-phase intense phasing and split-phase mode - creating spatial
rotary effects.
There are many different possibilities through varying the number of stages in the
phase chain output or the feedback resonance path. Setup depends on the
instrument applied to the unit. Lower numbers produce clean thin sounds. A higher
numbers of stages produce a richer phasing sound.
Phasing Stages - Selects which point in the phase chain is taken as output. 6 stages
produce a clean phase. However the classic rich sound is 12 stages.
Resonant Stages - Select which point of the phase chain is taken into the feedback
‘mix resonance’ circuit. 12 Stages is classic.
Mix Resonance - Controls the amount of feedback into the phase chain input. Classic
sound around 5 - 8. Full resonance at 10.
LFO Rate - Variable between 0.1 to 10Hz
LFO Select switch - Sine / Rectified / Inverse Rectified / Linear(Triangular) are
selectable. Classic unit uses Linear(Triangular). Slow Phasing sounds great with Sine.
Rectified variants can create notches or phase spikes which can sound cool. Rectified
variants are twice the speed.
LFO split switch ‘Mono’ setting configures the Left and Right Phase Chains to
modulate in phase, the strongest effect. ‘Split Phase’ runs Left and Right not in Phase,
creating a stereo swirl for added spatial rotary effect.
Depth - Controls the amount or depth of LFO modulation in the phase chain. Extreme
settings can sound unnatural. Setting this control to minimum turns the LFO
modulator off and relies on manual sweeping of the phase chain using the ‘offset’
control.
Offset - Shifts the operating frequency range of the Phaser. Maximum settings force
the Phaser to operate in higher frequencies. Lower Offset settings allow lower

frequency phase sweeps (more intense). In manual mode (Depth = 0) the user can
adjust the phase sound with this control.
Hypabass - A sub-harmonic synthesis unit used in the live sound environment to

generate infra and sub bass spectrum from weaker bass programme. We initially
emulated the American analog classic, but implementation in DSP gave us the ability
to use more sophisticated techniques in the sub harmonic generator and filtering
stages. The result is reduced distortion in the infra bass section and much better
independent control of the infra and sub bass spectrum, essential for live PA use.
The module is stereo in stereo out (with software normalised mono input if source is
mono). The stereo signal remains stereo throughout the signal path. There is no
mono’ing to produce either the infra or sub bass path.
• BEWARE - Extreme care is needed. Driving high infra bass levels into insufficient
speakers may lead to speaker equipment damage.
Operation
‘Hypabass’ is a sub harmonic synthesis module. An LF input de-emphasis/emphasis
trim stage feeds the sub harmonic generator creating low distortion, low frequency
spectrum below the source input spectrum. This sub harmonic spectrum is then band-
split into Infra Bass (18-36Hz) and Sub Bass (36 Hz upwards). This allows Infra and
Sub bass to have separate level controls, essential for controlling ‘Infra Bass’ and ‘Sub
Bass’ preventing speaker equipment damage, and dealing with resonant acoustics or
speaker resonance with exotic LF cabinet porting. Separate Infra Bass and Sub Bass
meters are provided. Each are peak detected from both Left and Right signal paths
and presented on one meter.
UPPER FREQ CUT - Controls the upper bandwidth of the sub bass harmonic
spectrum. This setting depends greatly on the sub bass speaker equipment and the
original bass content. Typically a low setting is common to prevent the generated sub
bass upper harmonics clashing with the original bass content. Beyond mid position
is only useful for Lost Fundamental mode.
LF INPUT BOOST - This filter stage provides emphasis on the input spectrum into the
sub harmonic generator and can be used as a global ‘more or less’ control once
everything else is setup.
INFRA BASS Mode - This is the default mode. Energy in the Infra and Sub bass
spectral regions is synthesised from the input bass content. Using the independent
level controls the engineer can balance Infra and Sub bass.
• Avoid infra bass damaging equipment or sub bass resonating. UPPER FREQ CUT
needs to be kept low to prevent the generated sub bass upper harmonics clashing
with the original bass content.
LOST FUNDAMENTAL Mode - These harmonics can be output to a mid-range driver
to create apparent bass energy since these upper harmonics are musically related to
the original bass content. Useful for increasing bass perception in music driving mid-
range speaker systems. This turns the Infra bass section off and modifies the output
spectrum to operate in the typical upper bass region. Using the Sub level and UPPER
FREQ CUT the engineer can manipulate the output to contain harmonics that are
above the input bass spectrum.

De-Esser - Based on the flagship iLive FX engine, the De-Esser emulates the
classic Auto-Threshold circuit commonly found on high end hardware units. This
produces a constant sibilance reduction regardless of signal level, resulting in a more
natural De-Essing process. In comparison, threshold based De-Essing produces
inconsistent reduction activity which can result in unnatural vocals.
De-Esser features an adjustable frequency point and a Listen button to allow
monitoring of the sibilant region. The response of the De-Esser and the amount of
reduction applied are adjustable to suit vocal programme.
The two channels are independent but their controls can be linked thanks to a latch
switch.
Listen - A momentary switch used to monitor the left or right channel to listen to the
‘ess’ band to which the gain reduction will be applied. The Listen button is
independent of the “Link” configuration so that even when Link is set, the left Listen
monitors the left channel and the right Listen monitors the right channel.
Frequency - Adjusts the lower boundary of the region thought to contain sibilance.
This will typically be around the 6kHz range. Adjust the value to capture the “ess”
heard on the channel. The frequency is adjustable from 3kHz to 8kHz. Like many
advanced De-Essers this is not a simple notch filter. Typically you need to set the
frequency slightly lower than the centre frequency of the ‘ess’.
Reduction - Provides control over the amount of gain reduction applied to the
selected frequency band. At “Min”, the De-Esser will not attenuate the band. At “Max”
the De-Esser will attenuate the band by up to 24dB.
Response - Adjusts the speed with which the De-esser responds to the presence of
ess/sibilance. Medium setting corresponds to the speed found on the iLive platform.
Fast setting is much faster, and Slow is roughly half the response time of iLive. To
avoid slight artefacts in vocal programme try using the Slow or Medium settings.
Link - Forces the left and right De-esser channels to be matched. If the two channels
have different, non-zero settings and the link control is activated, the right channel
settings will be set to match those of the left channel. If the link control is then de-
activated, the right channel will then reassume the settings it had before the link was
initially activated.
Rotator - The Rotator is a model of a traditional rotary speaker cabinet such as

those used to create the familiar Leslie organ sound. It simulates the rotating horn
(treble) and woofer (bass) along with their crossovers.
Rotors – Turns the treble/woofer motors on/off. When the motors are off, the speakers
are both facing the front of the unit. When switched on, the motors will ramp up to the
speed indicated by the Speed control. The woofer motor accelerates more slowly than
the treble motor. When switched off, the motors will then decelerate to the minimum
speed, until stationary and facing the front of the unit. The On/Off switch controls only
the rotor speed, not the whole effect.

Speed - Controls the speed of speaker rotation. Its lower setting is 0.1Hz (10
revolutions per second). The other two marked positions emulate those provided on
classic rotary speakers: Chorale (indicated as “chor”) and Tremolo (indicated as
“trem”). The big lamp flashes to show the treble speaker speed.
Width - Adjusts the stereo width of the two microphone outputs, and therefore the
spatial “depth” of the effect. At the “Mono” setting both simulated microphone outputs
are summed equally to the left and right outputs. At the L/R setting the simulated
left/right microphone outputs are sent to the left / right output channels
correspondingly.
Balance - Adjusts the relative weighting of the treble/woofer speakers. At the “LF”
setting, only the output of the woofer is heard. At the “HF” setting, only the output of
the treble horn is heard. You can balance between the two.
Deflectors - Simulates the attachment (On) or removal (Off) of the deflectors on the
end of the treble horn.
Back Panel - Simulates the attachment (On) or removal (Off) of the cabinet back
panel. This changes the simulated cabinet response as appropriate.
Mic Select - Allow for configuration of the two simulated microphone positions - Side-
Side (microphones on opposite sides of the cabinet), Front-Back (mics at front/back
of the cabinet), Front-Front (both microphones at the front of the rotary speaker). In
Front-Front mode, the “Separation” rotary becomes available. This allows for the
distance between the two front-positioned microphones to be adjusted.
Tube Drive - Controls the tube (valve) drive simulation. With the control at “On” the
tube drive is active. With the control at “Off”, the tube drive is completely bypassed.
The tube drive rotary control adjusts the depth of the distortion (1 = slightly warm, 11
= distorting).
Mains Hum Panel - Adjusts the level of simulated mains hum introduced.
50/60 - Switches between mains frequencies typical to the UK (50Hz) or US (60Hz).
VS1 Vocal Shift - VocalShift VS1 is a stereo vocal pitch shifter squeezing two
channels of high quality pitch shifting into a single effect. It has a very low latency
(<6ms), covers the whole vocal frequency range, and minimises the phasing and
flutter artefacts common with many pitch shifters.
VocalShift allows large shifts of up to +/- 1 octave, with a further switchable octave
downshift. The wide range makes it ideal for theatrical or more extreme musical
effects. The left and right channels are fully independent, allowing separate, high
quality pitch shifting on each.
The two channels can be linked and reset to flat (zero shift) using single button
presses.
Semitones - Sets the amount of pitch shift applied to each channel in semitones. The
range is -12 (one octave downshift) to +12 (one octave upshift). The current value is
displayed in the centre of the rotary. When ‘active’, the control glows yellow/orange.
In Link mode, both corresponding rotaries on the left and right channels will be
illuminated. A change to either will then be reflected in both.
Cents - Sets the amount of pitch shift in cents (100 cents = 1 semitone). This is added
to the setting of the Semitones (and oct down switch) control to give the overall shift
(+1 semitone and +50 cents = +150 cents pitch shift). The cents control is useful for
providing very small pitch shifts, for example for phasing and doubling effects.
Oct Down Switch - Provides an additional 1 octave downshift to the current pitch shift
settings (i.e. +12 semitones and -1 octave = no overall shift).
Flat - Sets all pitch shift controls to zero (Semitones, Cents and Oct Down are all set
to zero).

Width - Controls the stereo width of the two pitch shifted voices, and therefore the
weighting of each in the left/right output channels. At the “Mono” position, the left and
right channels are mixed equally to both left and right channels resulting in a centre
pan, mono effect. At the “L/R” position, the left voice is fed only to the left channel and
the right voice to the right channel. Other positions graduate between the two.
Link - Forces the left and right voices to be matched. If the two channels have different,
non-zero settings the right channel pitch shift settings will be set to match those of the
left channel. If the link control is then turned off, the right channel will restore its
settings from before the link was turned on. The Link control links the Semitones,
Cents and Oct-Down control. Pressing either “Flat” switch when Linked results in both
voices being set to zero.
Pitch Doubler - PitchDoubler is a stereo, pitch shifting doubler effect generating

the effect of additional voices from its input. It is based on the same pitch shifting
technology as VocalShift, with the associated low latency (<6ms), wide frequency
range (down to around 80Hz) and minimal phasing / flutter artefacts. The effect
squeezes two channels of high quality pitch shifting into a single effect slot, along with
further features such as adjustable delay and modulation.
The PitchDoubler has completely independent left and right channels, which can be
mixed to the left/right outputs of the effect by means of the stereo width control.
The doubling effect is achieved by provision of time delay, and modulated pitch shift.
Sliders are provided on each channel for independent control of the delay (0 – 25ms)
and the pitch shift (-100 -> +100). A pitch modulation LFO module, with adjustable
rate and depth, provides a natural variation in the pitch shift.
Delay - Sets the amount of delay applied to each voice. It is adjustable from 0 to 25ms.
A readout of the delay value is provided below the fader.
Pitch - Sets the amount of pitch shift provided, varying from -100 cents (= 1 semitone)
at the lower position to +100 cents at the upper position. The centre position
corresponds to zero pitch shift. A readout of the current pitch shift value is provided
below the fader.
Width - Controls the stereo width of the two voices. At the “Mono” position, the left
and right channels are mixed equally to both left and right channels resulting in a
centre pan, mono effect. At the “L/R” position, the left voice is fed only to the left
channel and the right voice to the right channel.
Level - Provides attenuation for each voice in the doubler. A level of 0dB will pass the
voice without any attenuation. A level of -6dB will pass the voice at half volume, and -
Inf will zero the output. A readout of the current gain value is provided to the bottom
left of the rotary.
Pitch Mod Panel
Active - This panel presents controls for applying LFO (low frequency) modulation to
the pitch shift setting. Make sure the “Active” switch is turned on.
Rate - Controls the rate (frequency) of the LFO applied to the pitch shift. The rate is
adjustable from 0.1Hz to 10Hz.
Depth - Controls the depth of modulation applied to the pitch shift. Full depth (100)
means that the pitch shift is modulated by the full amount of its current setting. If depth
is 0, no pitch modulation is applied.

Dynamic EQ - DynEQ4 is a model of the industry standard stereo 4-band Dynamic
Equaliser. It is an advanced processing tool providing four bands of equalisation that
respond to the dynamics of the signal.
The Dynamic EQ can be loaded into one or more of the FX slots and then inserted
into any of the input or mix channels.
Main Graph - Displays the 4 band frequency response, with the shaded fills showing
dynamic activity and the solid outline showing maximum cut/boost for each band.
Bands grey out if they are bypassed.
Thresh View - Primary control panel with main cut/boost and dynamics controls for
each band. You can drag the points in the graph to adjust frequency in this mode.
Comp/Exp - Sets the maximum amount of compression (EQ cut) or expansion (EQ
boost) for the band when the sidechain signal level is ‘Above’ or ‘Below’ the threshold
setting. Centre position is zero dB flat.
Above/Below - Selects whether the EQ operates when the signal is above or below
the threshold.
Threshold (-50dBu to 18dBu) - Sets the level at which the sidechain GR cut or boost
occurs for that band. A threshold dependent ‘zoom’ meter is displayed.
Horizontal Gain meter - Shows Dynamic metering of Cut (green) and Boost (red).
Choose one of two Attack/Release modes:
• Std9 – standard, smooth frequency conscious release.
• Fast9 – has a fast release.
Filter View - For setting up the frequency response for each band.
Frequency control - All 4 bands are full range 40Hz - 18kHz.

Width control - LF and HF become shelving at the widest setting.
• Band1: LF Shelf, Bell 2.1–1/9 octave
• Band2: Bell 2.25–1/9 octave
• Band3: Bell 2.25–1/9 octave
• Band4: HF Shelf, Bell 2.1–1/9 octave
Listen - Touch to momentarily listen to the sidechain filter signal using the PAFL bus.
SC Config - Left and Right signals are summed to produce a mono sidechain for each
band. Choose one of two modes:
• Cascade - The sidechain for each band is fed from the previous band. Each band is
affected by the previous band activity.
• Parallel - All sidechains are fed from the input to the DynEQ. Avoids band interaction.
Bypass - Individual bands or the whole EQ can be switched in or out. The curve and
controls grey out when the band is bypassed.

Master Trim and Meter - Lets you adjust the output +/-12dB to compensate for the
effect of the EQ on overall level. The meter displays the stereo output signal.
Multiband Compressor - Two multiband compressor types provide

independent compression control over different frequency bands. This is an advanced
mixing tool for mastering and live sound control. It gives more precise control over the
dynamics and less pumping effect than the more common single band compressor.
The Multiband Compressor can be loaded into one or more of the FX slots and then
inserted into any of the input or mix channels.
Main Graph - A WYSIWYG graph displays the resulting crossover frequency
response. Shaded red fills show dynamic gain reduction. The yellow curve shows
makeup gain for each band, and the grey curve shows maximum potential gain
reduction. Bands grey out if they are bypassed.
Slope - Choose the crossover slope - 6, 18, or 24 dB/octave. Slope 6 works well with
the 3-band compressor. It has minimal phase summing distortion and sounds
smooth. It is typically used for programme mastering. Slope 18 and 24 provide more
band isolation and work well with the 4-band compressor for vocal and instrument
control.
Attack/Release modes - There are two manual and 4 automatic dynamics modes:
• Peak Manual
• RMS Manual
• Auto Punch
• Auto Opto
• Slow AutoF
• Fast AutoF
Knee - Hard or Soft (easy knee model).
Link and Relative modes:
There are three operating modes with two buttons at the top right of the screen:
• Normal - Link and Rel buttons turned off. Independent control of each band.
• Link - All band parameters linked for quick setup.
• Relative - All band parameters linked for changes relative to settings made before the
Rel button was turned on.
Per band controls:

Ratio - 1:1 (no compression) to 20:1 (maximum compression)
Gain - -6dB to +18dB
Threshold (-50dBu to 18dBu) - Sets the level at which the sidechain gain reduction
occurs for that band. A threshold dependent ‘zoom’ meter is displayed.
In/Out - Individual band bypass. The curve and controls grey out for the band.
PFL - Momentary listen to the band solo’d to PAFL. Silences the other bands.
Sidechain Meter - Shows sidechain signal level and threshold point.
Bypass - Switches the whole compressor in or out. The curve and all band controls
grey out when the compressor is bypassed.
Master Trim and Meter - Lets you adjust the output +/-12dB to compensate for the
effect of the EQ on overall level. The meter displays the stereo output signal.

Transient Controller - This is an accurate model of the industry standard
Transient Signal Processor.
Transient Signal Processors provide cut and boost of the attack and sustain
envelopes of the input signal. This gives the sound engineer greater control over the
transient behaviour of audio programme. The processor is auto-threshold which
boosts or cuts specific parts of a signal envelope using auto attack and release times
thus making control very simple. The unit has two independent linkable channels of
processing, each with pre-gain and post-gain make-up and two optimised modes of
operation.
Controls:
Attack – Sets the amount of gain applied to the attack portion of a transient. Allows
up to 15dB boost or cut on the initial onset of a transient signal.
Sustain – Sets the amount of gain applied following a transient, boosting or cutting
the sustain envelope of the signal. Allows up to 24dB of cut or boost. Changing the
sustain gain on drums can help add or remove reverberation and can transform the
tonal quality of the sound.
Pre Gain – Can boost or cut up to 15dB before processing.
Post Gain – Can boost or cut up to 15dB after processing.
In – switches the processor in and out. These are independent controls for each
channel. The user interface greys out when the processor channel is out.
Metering – The unit provides signal and peak LED indicators for both input and
output. The signal LED has three stages: Green for signal presence, yellow for
nominal level above '0' and orange when approaching clipping.
Mode – The mode switch toggles between Transient and Continuous mode. If you
hear unwanted artefacts then try changing the mode.
• Transient Mode - The default Transient Mode is designed to be used on percussive,
transient material. Its automated attack and release reacts quickly meaning that even
the sharpest of transients will be caught and processed with minimal distortion.
• Continuous Mode - Ideally suited for more steady state signals such as a bass or
guitar. The unit responds much slower to transients and allows a smoother response.
Link – Links the two processing channels and changes the right channel parameters
to match the left. When unlinked the right channel previous parameters are recalled.
When linked, a common summed mono side chain is enabled for both channel 1 and
2.
Dimension Chorus – A model of a classic chorus device based on bucket-

brigade technology. The 4 modes offer varying degrees of density from subtle spatial
chorus to heavy modulation, with mode ‘E’ extending beyond the capabilities of the
original outboard unit.
Controls:
Mode - Mode 1 is the subtlest, producing the most natural of voices and a small stereo
spread. Mode 2 increases the width of the voices. Mode 3 increases both the
modulation speed and depth of the chorus giving a thicker sound. Mode 4 is the most

extreme and it expands the voices to be both louder, faster and wider. Expanding on
the original device, we have included mode ‘E’ which follows the progression of more
intense chorusing. This produces quite an aggressive chorusing mode but still utilises
the unit’s voice architecture.
Output – Set to Wet Only when using in a Send/Return configuration, or Dry+Wet
when inserted on a channel, with the wet/dry control for that channel set to fully wet.

13. Appendix B – Scene and Show memory content
13.1 Scene memories
Scene memories store the following parameters and settings:
Input channels Mix channels

• Preamp Gain, Pad, +48V • Ext Input Gain, Pad, +48V
• Digital Trim, Polarity • Digital Trim, Polarity
• Stereo Image • Insert In/Out and operating level
• HPF and LPF Filters • PEQ
• Insert In/Out and operating level • GEQ
• PEQ • Compressor
• Gate and Compressor • Level (channel fader)
• Level (channel fader) • Mute
• Mute • Pan
• Pan • Routing assignments, sends and Pan
• Routing assignments, sends and Pan • Delay
• Delay • DCA / Mute Group assignments
• Direct Out level • Name & Colour
• DCA / Mute Group assignments • Source point
• Name & Colour
FX Sends, FX Returns FX
• Level • FX parameters for each unit
• Mute • PEQ
• Routing assignments, sends and Pan
• DCA / Mute Group assignments
• Name & Colour
DCA Others
• Assignments • AMM Settings
• Level • IP Controllers settings
• Mute • Source Select settings
• Name & Colour • Dyn8 routing and parameters
• Softkeys settings
Mute Groups
• GPIO settings
• Assignments • Patchbay – Input source, Inserts,
• Mute Outputs
• Virtual SoundCheck settings
MIDI Strips
• I/O Port – Option card settings
• MIDI messages • Output Polarity
• Name & Colour • Digital Out Sample Rate
• Talkback HPF
• Ganging
• ME Stereo configuration for Monitor outs
• Global Direct Out source
• Global Tap Tempo
• Strip Assigns for each bank
• Surface illumination
• Soft Rotary controls

13.2 Show memories
Show memories store the following settings:
Current settings
• All settings listed above, stored at the time the Show was last saved
Scenes
• All Scenes (1-500) including names and descriptions
• Scene Recall Filters
• Global Scene Safes
• Role Profile and Role Safes
• Cue lists
• Current cue list
• Scene options (Editing Confirmation, Auto Store, Auto Increment, Track Embedded, Go on
Touch)
Libraries
• All User Libraries
MixRack Setup
• Mixer Configuration
• Input Stereo Configuration
• Audio Clock source
• BNC Wordclock out option
• Talkback assignments, source assignment, HPF and Dim option
• SigGen assignments and settings
Surface Setup
• AES out sample rate options
• AES input SRC bypass
• Strip Assign ‘Sync Selected Layer with Surface’ option
• Custom Rotary functions
• Layer Link
• Surface preferences (Display parameter on LCD, No Sends on Faders)
PAFL
• PAFL preferences (Additive mode, IEM Mix to Headphones, Mix Follows PAFL, Sel Follows
PAFL, AFL option)
• PAFL Delay and Trim
• Mains to PAFL levels
• External Input Talk to PAFL switch and Trim
Others
• PEQ / Comp order
• Custom meters
• Quick Names
• MIDI Channel number
• Input PEQ 20-20k option
• Mix PEQ 20-20k option
• Fill PEQ graphs option
• I/O Screen options
• RTA ‘Show Peak Band’ option
• ‘Enable Preamp on Surface’ option
13.3 Settings not stored in Shows

The following settings are not stored in Show memories. These settings are local to the MixRack or Surface.
• Network settings
• Event logs
• VGA Screen out mode
• User Profiles

14. Appendix C – Template Shows
Template Shows provide a quick starting point by giving you a familiar layout and classic mix architecture.
They contain a number of default Scenes to reset the mixer settings, patch and Surface layout to the starting
point.
FoH, MON and Surround Template Shows have:
• Input fader strips on left banks, Mix and DCA masters on right bank.
• Surface Inputs on Layer F of the left bank.
• All channels muted.
• Input channel 1-64 source from MixRack XLR sockets.
• Input channel 65-96 source from DX 1/2.
• Input channel 97-114 source from DX 3/4.
• Input channel 115-126 source from Surface inputs.
• Input channel 121/122 configured as Stereo and sourced from Surface 7/8 (XLR) for music
playback.
• Input channel 123/124, 125/126 configured as Stereo and sourced from Surface 9/10 (AES) and
11/12 (AES) respectively.
• Input channel 127/128 configured as Stereo and sourced from the Surface USB stereo playback.
• Soft Rotaries (left screen) assigned to Gate+Comp, Gate, Comp.
• Soft Rotaries (right screen) assigned to Mono Aux Sends, Stereo Aux Sends, FX Sends (follow
Sel).
• SoftKeys, IP Controllers, Virtual SoundCheck settings, Talkback HPF, FX Global Tap tempo and
Soft Rotary Controls are Safe in the Global Safes.
14.1 FoH
This Template configures a traditional architecture and layout with stereo LR main mix for mixing FoH and
monitors from FoH. This is the factory default Show loaded.
Bus architecture:
• 8 Groups (4 Mono, 4 Stereo)
• 8 Mono FX Sends
• 16 Aux (8 Mono, 8 Stereo)
• 8 Matrix (4 Mono, 4 Stereo)
• LR (single fader strip)
14.2 Mon
This Template configures the dLive as a dedicated monitor console with 28 monitor mixes. All Input faders
are set to 0dB.
Bus architecture:
• 8 Mono FX Sends
14.3 Surround
This Template configures the dLive as a surround mixer with 5.1 discrete Main channels.
Bus architecture:
• 8 Mono FX Sends
• 5.1 Main Surround (individual fader strips)

14.4 Multi-Surface FOH/MON
These Templates are for use in a Multi-Surface application where one Surface is dedicated to FOH and
another Surface is dedicated to MON.
Both Show files have identical bus configurations, but with unique Surface scene ranges, role filters, strip
layouts and PAFL settings optimised for each role.
The Multi-Surface FOH show should be loaded on the Surface responsible for the FOH mix.
The Multi-Surface MON show should be loaded on the Surface responsible for the MON mix.
The bus architecture is shared between FOH and MON:
• 16 Mono FX Sends
• 2 PAFL
Visible on the FOH Surface:

• Scenes 1-249
• 64 Inputs (1-64)
• 12 DCA (1-12)
• 6 Groups (1-2 Mono, 1-4 Stereo)
• 8 Mono FX Sends (1-8)
• 6 Matrix (1-4 Mono, 1-2 Stereo)
• PAFL 2 is assigned to the FOH Surface
Visible on the MON Surface:

• Scenes 250-500
• 64 Inputs (65-128)
• 12 DCA (13-24)
• 12 Aux (1-8 Mono, 1-4 Stereo)
• 8 Mono FX Sends (9-16)
• Wedge
• IEM
• PAFL 1 is assigned to the MON Surface
 The Multi-Surface FOH and Multi-Surface MON Show files are not suitable for applications where one
Surface is responsible for both FOH and MON mixes.
 When making changes to the Mixer Config – for example, adding or removing an AUX, GRP or MTX –
ensure that the Role Filters in each Surface Role are updated accordingly.
 The MixRack headphones output is fixed to PAFL 1 (MON)
 The RTA function, Wedge and IEM strips are fixed to PAFL 1 (MON)
 Delay, PFL Trim and Ext Input to PAFL Source are available for FOH and MON
 See Appendix E – Multi-Surface for more information on Multi-Surface functionality.

15. Appendix D – I/O Module Options
15.1 ACE
1
Mode – Set to Redundancy On for dual-cable redundant connection. Set to
Redundancy Off: In1-64 from Link1 to accept 64 inputs on Link 1(i.e. FOH/MON
split) with both Links sharing the same 64 outputs. Set to Redundancy Off: In1-32
Link1, 33-64 Link2 to accept 32 inputs from Link 1 and 32 inputs from Link 2 with
both Links sharing the same 64 outputs.
15.2 AES XLR

1
Output Sample Rate – Select the global output sample rate of the I/O
module from a choice of 96kHz, 88.2kHz, 48kHz or 44.1kHz.
2
Input SRC Bypass – Enable this option to disable input sample rate
conversion on a per input basis.
 Only turn off SRC if the AES sources are syncing from a 96kHz clock provided by
or shared with the dLive.

15.3 DX Link
1
Redundancy – Set to Redundancy On for dual-cable redundant
connections to DX Expanders. In redundant mode the DX Link sockets are in
redundant pairs 1&2 and 3&4.

15.4 MADI
4
1
1
MADI Aux BNC Mode – Set to In 1 Thru to replicate the incoming Link 1
stream to the Aux BNC. Set to Out 1 Mirror to split MADI outputs to the Aux BNC. Set
to Wordclock Out to provide a Wordclock signal on the Aux BNC.
2
MADI Redundant Link – Enable this option to use Link 2 on the MADI
card as a dual redundant connection.
3
MADI Input Routing – With Redundant Link disabled, you can choose if
incoming MADI channels are sourced from Link 1 or Link 2, in blocks of 8 channels.
4
Receiver Status – Displays the status of the two Links. If any error is
detected on the stream i.e. the stream is not fully compliant to the MADI standard,
dLive will mute the incoming audio. However, an option to ignore these errors is given
to allow wider compatibility with third party equipment.
 Only ignore stream errors when strictly required and check for integrity of the audio
at low level. An error in the stream might cause full scale digital noise on the outputs!

15.5 superMADI
1
Sample Rate – Select the Sample Rate/Mode of each pair of MADI Links:
96kHz HiS High Speed MADI - 128 channels @ 96kHz
96kHz SMux SMUX MADI - 128 channels @ 96kHz
48kHz MADI - 128 channels @ 48kHz
 Ensure that the Sample Rate/Mode is consistent across all connected MADI
hardware to prevent audio artefacts and/or drop-outs.
2
Redundancy – Turn dual-cable Redundancy On or Off for each pair of links.
3
Inputs – Configure the Input routing of each pair of links in blocks of 32
channels.
4
Outputs – Configure the Output routing of each pair of links in blocks of 32
channels.
5
Sync Source Link – If the superMADI module is selected as the dLive
Audio Clock Source, choose the Link that is used as the sync source.
 See section 9.7 - Audio / Audio Sync for more information on Audio Sync
options.

1
The BNC Status and Opto Status screens are used to monitor the health of incoming
MADI streams. Any problems with the incoming stream (i.e. the stream is not fully
compliant to the MADI standard) are indicated by a red virtual LED. The dLive system
will MUTE any MADI streams with corrupt information, but you can choose to Ignore
errors in the stream – this can be useful for interfacing with 3rd party equipment with
does not fully adhere to the MADI standard.
 Only ignore stream errors when strictly required and check for integrity of the audio
at a low level. An error in the stream might cause full-scale digital noise on the outputs.
1
Ignore Symbol Error – Select to ignore 4B5B errors in the MADI stream
2
Ignore Parity Errors – Select to ignore AES3 parity errors in the MADI
stream
3
Ignore Valid Inverted – Select to ignore AES3 Valid errors in the MADI
stream.
4
Ignore Active Inverted – Select to ignore AES3 Active errors in the MADI
stream.

16. Appendix E – Multi-Surface
16.1 Overview
Multi-Surface mode allows the connection of up to 4 Surfaces to a single DM MixRack or 2 Surfaces to a
single CDM MixRack.
Any combination of C Class and S Class Surfaces can be used in a Multi-Surface system. Dual-cable
redundancy is available on S Class Surfaces and can be added to C Class Surfaces via a fibreACE module.
16.2 Example Applications

FOH/MON - Two Surfaces can be configured to provide a FOH/MON split.
Surface Mirroring - Multi-Surface systems can be used to provide Surface mirroring which could be
implemented in a number of scenarios such as additional Surface locations (i.e. for MON use with a B
Stage) or for a backup Surface.
Multi-Room Install - Multiple Surfaces can be employed for install applications where a number of Surfaces
– each with their own discrete channel range and outputs - are required to control multiple conference or
meeting rooms.
Sub-Mixing - A Multi-Surface configuration can also be utilised in applications where it is desirable to have
more than one engineer working on the same mix simultaneously; for instance, performances with a very
high channel count where traditionally a dedicated sub-mixer would have been used.
16.3 Network Configuration

All connected Surfaces require a discrete IP address before connection, for example:
Surface 1: 192.168.1.81
Surface 2: 192.168.1.82
Surface 3: 192.168.1.83
Surface 4: 192.168.1.84
Surface IP addressing can be changed on the Surface /Config / Network page as detailed in Section
10.12
16.4 Connection
The Primary Surface connects to the internal gigaACE socket on the MixRack. This can be a dual-cable
redundant connection with a DM MixRack and S Class Surface.
Secondary Surfaces connect to gigaACE or fibreACE I/O modules installed in the MixRack. Secondary
Surfaces require a fibreACE I/O module if using an optical connection.
Each I/O module supports one Secondary Surface connection - this can be a dual-cable redundant
connection if connecting to an S Class Surface, or to a C Class Surface fitted with a fibreACE module.
OPTIONAL
REDUNDANT
Secondary Surface
CONNECTION
Secondary Surface
OPTIONAL Secondary Surface
REDUNDANT
CONNECTION
CDM MixRack
OPTIONAL
REDUNDANT
CONNECTION
DM MixRack
Secondary Surface
Primary Surface Primary Surface

16.5 gigaACE I/O Module Configuration
All gigaACE I/O modules in the MixRack connected to Secondary Surfaces require the front panel Control
Network Bridge switch to be in the ON position.
 gigaACE modules installed in a Surface cannot be used for connection to a MixRack.
16.6 fibreACE I/O Module Configuration
fibreACE modules in the MixRack require the front panel Control Network Bridge switch to be in the ON
position, and the Mode switch to be set to Copper Active or Optical Active mode depending on the cable
used.
fibreACE modules installed in Secondary Surfaces and used for the MixRack connection require the front
panel switch to be set to Convert.
16.7 PAFL
Each Surface can have a dedicated PAFL bus which is assigned via Surface / Audio / PAFL as detailed in
Section 10.7. PAFL busses can be added or removed via MixRack / Config / Mixer Config as described
in Section 9.1.
 The RTA function is fixed to PAFL bus 1
 Wedge and IEM strips are fixed to PAFL bus 1
 The headphones socket on the MixRack is fixed to PAFL bus 1
 Delay, PFL Trim and Ext Input to PAFL Source are available for PAFL busses 1 and 2
16.8 Surface I/O
1
3
1
I/O Modules – I/O modules installed in the Primary Surface are accessible
throughout the system. I/O modules in Secondary Surfaces are not accessible.
2
Analogue & AES – Analogue and AES I/O on Primary and Secondary
Surfaces are accessible throughout the system.
3
DX Expanders – DX Expanders connected to Primary and Secondary
Surfaces are accessible throughout the system.
16.9 Shows
In a typical Multi-Surface system, each Surface would store and recall its own Show independently of other
Surfaces. Although the MixRack data would be the same in each Surface’s Show file, the Surface data
would be unique to the Surface that stored the Show.
When loading Multi-Surface shows, the last user to store the Show would recall the Show as normal.
Additional operators would recall their Shows in Surface Only Recall mode to prevent making any changes
to the MixRack configuration.
 If a Show stored on the FOH Surface is recalled on the MON Surface, it will recall the FOH Show
memories and Scene memories including the FOH Surface configuration (i.e. strip layouts)

 Enable Allow Surface Only Recall by pressing Setup when on the Utility / Memory / Show Manager
page – see Section 11.1 for more information on Show Manager.
16.10 Scenes
In a typical Multi-Surface system, each Surface would store and recall its own Scene(s) independently of
other Surfaces.
The Surface Roles menu allows the user to define a Scene Range for each Surface Role and can be
accessed by pressing Setup whilst on the Surface / Control / Surface Prefs page.
For example, in a FOH/MON Multi-Surface configuration, the FOH Surface Role could be assigned to
Scenes 001-249 and the MON Surface Role could be assigned to Scenes 250-500.
As a Scene also contains MixRack settings it would be typical to configure Role Filters to block unwanted
Surface and MixRack parameter changes when recalling a Scene.
 If a Scene stored on the FOH Surface is recalled on the MON Surface, it will recall the FOH Surface
memories (i.e. FOH strip assignments etc.) in addition to all MixRack settings.
16.11 Surface Roles

Up to 4 Surface Roles can be configured, and each Surface Role contains a scene range and a Role Filter.
In a typical FOH/MON Multi-Surface configuration, the Role Filters would be configured on each Surface to
allow relevant changes when a Scene recall is performed.
 Changes made to the Mixer Config – for instance adding or removing an AUX, GRP or MTX – would
need to be reflected in the Role Filters for each Role.
16.12 Firmware Update

In a Multi-Surface system, Surfaces should be updated individually, either connected as a Primary Surface
directly to the MixRack gigaACE socket or with no MixRack connected via the Connection Failed screen on
startup.
 Performing a firmware update with Surface(s) connected to the MixRack via I/O module(s) is not
supported.
16.13 Patching between Surfaces

There are several scenarios where patching inputs between Surfaces is desirable.
For example, signals may need to be patched between Surfaces via Tie-Lines. This can be useful for “shout”
communications between engineers when it is not desirable to consume an input processing channel.
As Secondary Surfaces are connected to the MixRack via gigaACE or fibreACE I/O modules, patching
between Surfaces is performed on the I/O screen via the MixRack I/O Port tabs.
To patch the signals use the Tie Lines tab in the I/O screen and refer to the gigaACE I/O module channel
mapping for the relevant gigaACE I/O channel numbers.
 Primary Surface I/O can only be patched to Input Channels from the Primary Surface itself.
 All Surfaces have the ability to change the patching of I/O modules fitted to the rack. Care should be
taken to prevent accidental changes to the patching of gigaACE I/O modules that are being used for
connection to Secondary Surfaces.

16.14 gigaACE I/O Module Channel Mapping
All channel mapping is from the perspective of the MixRack I/O modules.
Patching is performed on the I/O page via the MixRack I/O Port tabs.
gigaACE gigaACE
Output Input
Channel Channel
1 Surface Analogue Output 1 1 Surface Analogue Input 1
9 Surface Digital Output 9 9 Surface Digital Input 9
13 Surface Digital Output 13 13 DX Input 1
14 Surface Digital Output 14 14 DX Input 2
15 PAFL L 15 DX Input 3
16 PAFL R 16 DX Input 4
17 DX Outputs 1 17 DX Input 5
45 DX Outputs 29
46 DX Outputs 30
47 DX Outputs 31
48 DX Outputs 32
 All Surfaces have the ability to change the patching of I/O modules fitted to the rack. Care should be
taken to prevent accidental changes to the patching of gigaACE I/O modules that are being used for
connection to Secondary Surfaces.

17. Appendix F – MCAs
17.1 Overview
MCAs are used to relatively adjust the send levels of DCA members to an Aux or Matrix.
When MCA mode is enabled, and an Aux/Matrix is the active Mix, the DCA fader becomes an MCA fader,
controlling the Aux/Matrix send levels of the member channels. The MCA fader will revert to a DCA fader
when an Aux/Matrix is not the active Mix.
MCA faders default to the GEQ line allowing a +/- 12dB trim of the send levels.
For example, a DCA may contain 8 drum channels. In MCA mode with Aux 1 as the active Mix, the send
levels to Aux 1 of all 8 drum channels can changed via the MCA fader with their relative levels remaining
intact.
17.2 Adding MCA Members

An MCA contains the same members as the DCA.
To populate a DCA/MCA, use the Routing screen or the Mix and Assign buttons on the Surface.
17.3 Enabling MCA Mode

MCA mode can be enabled on DCA channels individually or globally.
Enable MCA mode on specific DCAs in the Bank View screen by touching the MCA Active option on the
DCA strips.
Enable MCA mode globally in the DCA/MCA Spills screen by enabling the Force MCA on Mix option.
17.4 Working in MCA Mode

+12dB With MCA mode enabled, press the Mix button on an Aux or Matrix to change
the DCA fader to a MCA fader.
An MCA fader will move to the central GEQ position when activated, allowing
+/-12dB of trim control over the sends of its members.
As with a DCA, the relative levels of the MCA members will remain intact when
0dB moving the MCA fader.
If DCA/MCA Spill is active, pressing the Mix button on an MCA will populate
the Surface with the channels assigned to the DCA/MCA. Pressing the Mix
button again will revert to the normal strip layout on the Surface.
-12dB

18.Block diagram
dLive SYSTEM BLOCK DIAGRAM 128 input channels x 64 bus Mix Engine
Firmware V1.6 Assignable buses
GRP AUX FX MAIN MTX PAFL
dLive MIC/LINE inputs 48V INPUT CHANNEL x 128 Sidechain Sidechain

INPUT Configurable Mono / Stereo PFL
Surface PP
PAD
GAIN PATCH
METER DCA AFL
INSERT A INSERT B
+ MUTE FADER ASSIGN+PAN
ADC WIDTH TRIM FILTERS GATE/ PEQ COMP/ DELAY AMM
preamp
- IP to MAIN
DEEP
POL Ducker Ducker gain
-20dB SRC 0 L R
MODE IP to GRP
AES3 inputs
Stereo ch
USB Bypass
only L R
MixRack inputs Post-Preamp Post-Ins A Post-PEQ Post-Delay IP to AUX/FX
WAV Stereo Playback Source option
per AUX mix LEV
Audio interface Global meter
option card Surface inputs source option
AMM key
I/O Port/s 128 Inputs
TRIM DIRECT OUT
Global Direct Out
I/O Port inputs source option
dLive MIC/LINE inputs 48V
MixRack PP
PAD
GAIN Expander inputs
FX SEND RackFX x16 FX RETURN x16
+ METER PFL
ADC PFL
- AFL
RackFX outputs Strip METER AFL Send > Return FX FADER in-place
-20dB Inserted FX MUTE ASSIGN+PAN
FADER
MUTE PEQ Ret to MAIN
Audio interface L R
option card USB Playback Ret to GRP
From: Patch to:
I/O Port/s 128 Inputs
FX Send FX Return
or or L R
Sig Gen Any MIX Input Channel
DCA Post Ret to AUX/FX
dLive MIC/LINE inputs 48V Input DIR OUT IP or MIX INSERT
Output Patch Pre LEV
Expanders PP
PAD
GAIN Mix outputs
<32 inputs
+
-
ADC
Dyn8 x64 TALKBACK SIG GEN To: GRP
PFL Assign to: GRP AUX
-20dB Sine (Sweep 20-20kHz) MUTE
SRC AUX MAIN
AES3 inputs Dynamic EQ IP or White Noise
MAIN LEV MATRIX
Multiband comp MIX Insert HPF MATRIX Pink Noise
Bandpass Noise (Sweep)
Bypass
Press to TALK
GRP AUX FX MAIN MTX PAFL

OUTPUT dLive BAL Line Outputs
PATCH Surface DAC +
MIX MASTER (GRP, AUX, MAIN) Global meter -
source option
Ready +4dBu
PFL
Post-Trim Post-Insert Post-PEQ Post-GEQ Post-Comp DCA AFL SRC AES3 Outputs
Post-Fader
44.1/48/96kHz
INSERT 28-band 1/3 octave FADER BAL
MUTE Input DIR OUT
(Main LR only)
PEQ GEQ COMP DELAY Bypass
L R Mix Output
+ GRP/AUX/MAIN
96kHz WAV Stereo Record
GRP to MAIN MixRack inputs USB
Sidechain L R Audio interface
option card
Surface inputs
EXT IN - Patch from:
128 Outputs I/O Port/s
TRIM POL L R
Skt, I/O Port GRP to AUX/MTX I/O Port inputs
Post PHONES
or RackFX 0
Pre LEV DAC
PAFL monitor
Configuration: L R Wedge monitor
64 x Bus = GRP, AUX, FX, MTX, MAIN
Configurable Mono / Stereo
Post
Pre
AUX/MAIN to MTX
dLive BAL Line Outputs
LEV IEM monitor
MixRack DAC +
-
RackFX 1-8 out Ready +4dBu
MATRIX
Monitor
1-40
EXT IN - Patch from:
TRIM POL MATRIX MASTER Audio interface
Skt, I/O Port Configure as MONO or STEREO option card
or RackFX 0 PFL
Sidechain DCA AFL
128 Outputs I/O Port/s
PHONES
INSERT 28-band 1/3 octave FADER
MUTE DAC
PEQ GEQ COMP DELAY Strip METER
MTX Output
+ FADER
MUTE
IEM dLive BAL Line Outputs
Post-Trim Post-Insert Post-PEQ Post-GEQ Post-Comp Post-Fader Global meter
source option
Expanders DAC +
-
Strip METER <32 Outputs
Ready +4dBu
FADER
MUTE
PFL/AFL MONITOR DELAY RTA AFL not affected by Trim WEDGE SRC AES3 Outputs
44.1/48/96kHz
31-band 1/3 octave -24dB 0dB
EXT Input to PAFL
PFL TRIM
Skt or I/O Port Bypass

19. Processing specs
Input Processing Compressor pre/post PEQ, on a per channel basis
128 Input Processing Configurable mono or stereo Sidechain Self key + any source selectable,
Channels In/Out, Sel 'listen'
Sidechain Lo-Cut Filter 12dB/octave, Freq 20Hz –
5kHz
Trim +/-24dB digital trim Sidechain Hi-Cut Filter 12dB/octave, Freq 120Hz – 20kHz
Polarity Normal/Reverse Threshold -46dBu to 18dBu
Stereo Width Control L/R, R/L, L -Pol/R, R -Pol/L, Mono, Compressor parameters Thres, Ratio, Attack, Release, Knee -
L/L, R,R, M/S type dependant
High Pass Filter 12dB/18/24dB octave 20Hz – 2kHz, Types/Models Various peak and RMS based
switchable in/out Compressor models
Low Pass Filter 12dB octave 50Hz – 20kHz, Parallel Compression Wet/Dry control
switchable in/out
Insert Assign to any sockets, In/Out, Channel Direct Out Individual Trim (per channel)
+4dBu/-10dBV level
2 insert points per channel: Post Gate, Options Source, follow Fader, follow Mute
Pre-Delay (global for all)
Delay Up to 340ms, in/out control Source points globally selectable
Gate
Sidechain Self-key + any source selectable, Mix Processing
In/Out, Sel 'listen'
Sidechain Lo-Cut Filter 12dB/octave, Freq 20Hz – 5kHz 64 Mix Processing Configure as mono/stereo Groups,
Channels Aux, Main, Matrix
Sidechain Hi-Cut Filter 12dB/octave, Freq 120Hz – 20kHz Main mix modes None, LR, LCR, LR+MSum, LR+M
Threshold -72dBu to +12dBu
Depth 0 to 60 dB External Input to Mix Assignable source
Attack 50us to 300ms Trim +/-24dB digital trim
Hold 10ms to 5s Polarity Normal/Reverse
Release 10ms to 1s Insert Assign to any sockets, In/Out,
+4dBu/-10dBV level
1 insert point per channel: Pre-EQ
PEQ
Type 4-Band fully parametric, +/-15dB GEQ 28 bands 31Hz -16kHz, +/-12dB
Frequency Range Global setting for Inputs = 20-20kHz Type Constant-Q, Proportional-Q, digiGEQ,
or 'Analogue setup' hybrid
Analogue Range setup 20-200Hz, 35-1kHz, 500-15kHz, 2k- Gain Frequencies displayed on LCD strip
20kHz
Band 1 Selectable LF Shelving, Bell, Hi-Pass PEQ as input channel
Band 2 Bell Compressor as input channel
Band 3 Bell Delay Up to 680ms, in/out
Band 4 Selectable HF Shelving, Bell, Lo-Pass
Bell Width Non-constant Q, variable, 1.5 to 1/9th FX
octave
Shelving Type Classic Baxandall FX Processing 16x RackFX engine, internal module
Hi-Pass, Lo-Pass Filter 12dB/octave Mode Send>Return, Inserted, Daisy Chain
selectable FX, direct to output
Band in/out per channel FX Returns
16 Stereo dedicated Fader, Pan, Mute, Routing to Grp,
returns Aux, FX, Main
4-band PEQ on each return

Talkback Assignable source
High Pass Filter 12dB/octave, 20Hz-400Hz
Routing To Groups, Aux, Main, Matrix
Signal Generator Sine, White Noise, Pink Noise,

Bandpass Noise
Sine, Bandpass sweep 20-20kHz
Controls Level, Mute
Routing To Groups, Aux, Main, Matrix
RTA 31-Band 1/3 octave 20-20kHz

Source Follows selected PAFL source
Peak Band Indication Option to display dominant frequency

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dLive Firmware Reference Guide

Firmware Reference Guide 2 V1.8

Firmware Reference Guide 3 V1.8

Firmware Reference Guide 4 V1.8

Firmware Reference Guide 5 V1.8

Firmware Reference Guide 6 V1.8

Firmware Reference Guide 7 V1.8

Gate and Gate Comp

Send levels FX Scenes

1.2 Copy/Paste/Reset, Setup, Listen and Lib keys

Firmware Reference Guide 8 V1.8

1.3 Bank view

Firmware Reference Guide 9 V1.8

Firmware Reference Guide 10 V1.8

Firmware Reference Guide 11 V1.8

Firmware Reference Guide 12 V1.8

Firmware Reference Guide 13 V1.8

Select A, B, C or D to enable that source to the selected input channel.

Firmware Reference Guide 14 V1.8

A post-Trim signal meter is shown. Polarity toggles normal and reverse.

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Firmware Reference Guide 17 V1.8

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Firmware Reference Guide 24 V1.8

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Firmware Reference Guide 26 V1.8

2.3 User login

Firmware Reference Guide 27 V1.8

Firmware Reference Guide 28 V1.8

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Firmware Reference Guide 30 V1.8

Firmware Reference Guide 31 V1.8

Firmware Reference Guide 32 V1.8

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5.3 Tie Lines

5.4 Virtual SoundCheck

Firmware Reference Guide 34 V1.8

Firmware Reference Guide 35 V1.8

Input channels – Displays routing, assignments and Direct Out controls.

Firmware Reference Guide 36 V1.8

Surround panning – Access to 5.1 image, options and LFE level.

Firmware Reference Guide 37 V1.8

Aux, Matrix and FX sends – Displays routing and assignments of Input

Firmware Reference Guide 38 V1.8

Firmware Reference Guide 39 V1.8

7.1 Scene Manager

A Scene is stored in this memory location.

Embedded Recall is set for this Scene.

A Crossfade Time is set for this Scene.

Recall Filters are set for this Scene.

The Scene is locked.

Firmware Reference Guide 40 V1.8

Firmware Reference Guide 41 V1.8

7.2 Recall Filters

Firmware Reference Guide 42 V1.8

Firmware Reference Guide 43 V1.8